A Filha de Satanás

This is utter schlock that wouldn't look out of place in a marathon of bad movies. Here are a few pointers as to how outdated. A moralist intertitle announcing we're going to see a film about naked evil. Religious King Vidor at the helm. Omniscient narrator hovers around town setting up the story.

But this is Bette's show as well. Reportedly she was disdainful of the script and tried to walk out several times. I don't know if you can tell by watching that she hates it, the Bette Davis devout might, I haven't had the chance to watch her in a while. She's always so eminently watchable however and no less here, sneering and scoffing her way through the role of contemptible manipulatrix tormenting her milquetoast doctor husband.

She is the 'evil' of the intertile, her naked lust for money, her haughty ego that she's too good for the small Wisconsin town. Her burning desire and ego are visually exemplified in the fire of a nearby sawmill that burns through the night, visible from her window. She writhes and winces a lot, a picture of someone completely at odds with themselves. In a most heinous moment of the story, she calls in her husband's medical debts from the poor workers in town, all so she can go to Chicago to buy clothes. Once there she hopes to elope with a rich guy.

It's all as incorrigible as this. But this is Bette's show, which means a struggle with the fire that burns inside of you, a struggle to harness explosive talent. What does this mean?

This is the film where she famously says 'what a dump'. A more fiery moment however for me is when she demands from the rich guy to marry her. She wants out of the dump badly. Rich guy raucously laughs and points at her, laughing. Is Bette phased at all? She crosses the room and slaps him, hard, and cut to her looking triumphant. He kisses her.

The film is about a headstrong woman who is unhappy with where she is in life. Written as it is, by some guy in the 40s, the film goes out of its way to portray her as truly vile; not just an unhappy wife but unhappy because she can't buy nice shoes and clothes. Fierce but deliberately shown as idle and superficial. But what if we decide to not settle for the cartoon manipulatrix grafted on top of the unhappy woman and instead see someone who wants out from a role she has been squeezed into?

Being a headstrong woman who wants to be in control of her own choices was enough to label you spoiled and ungrateful in the 40s. Bette knew first hand.

I have seen this film many times and it never fails to get me in. I am also aware of all the negative reviews it has received with plenty of trash talk using terms such as 'banal', 'overblown' and 'incredibly artificial'. But one description is definitely a backhanded compliment "One of the most enjoyable bad movies ever made".

Anyway, who cares about all that, beauty is in the eye of the beholder after all.

Recently - instead of getting a life - I watched three Bette Davis movies in one weekend: "All About Eve", "The Letter" and "Beyond the Forest". She was different in each one. Bette Davis had such a distinctive personality that it would be easy to think she just played herself in film after film, but not so. Her Rosa Moline in "Beyond the Forest" is a one-off; I don't think she ever played any other role that way again. Some say she was sending herself up. Apparently she didn't want to play the part and maybe her bad mood helped shape her character.

I couldn't help thinking of "Madam Bovary" as I watched this film about a woman who leaves her husband to chase her dream. In Madam Bovary's case the dream was a romantic one; in Rosa's, the dream is more superficial; in both cases the dream turns into a nightmare.

Rosa is married to the nice Doctor Lewis Moline (Joseph Cotton), but to her he is just poor and boring. Lewis is the respected doctor in the Wisconsin mill town where they live. Rosa latches onto Neil Latimer (David Brian), a rich businessman from Chicago, and plans to dump Lewis. He is about the only person in town who can't see through her, even their young Indian maid, Jenny (Dona Drake), has her measure. The scenes between Rosa and Jenny are very funny - the film needed a light touch to relieve the angst. It all ends in tears of course, played out in the flickering light of the massive incinerator that dominates the town.

Bette Davis thought she was too old for the part, but doesn't that make her character just that much more pathetic? She feels life has passed her by, and she is making a last desperate grab for what she thinks she deserves.

Much of the film was shot on location and has a rich look. Max Steiner contributed a powerful score, incorporating the melody "Chicago"; the theme for Rosa's yearning. His music actually has sympathy for Rosa; it understands her, even as it accompanies her to the inevitable tragedy.

"Beyond the Forest" is a movie where everything is larger than life, including the emotions. I still think it is fantastic cinema.

Many have blasted this film as pure camp, some without having even seen it, I'm sure. While this is no masterpiece, it really isn't that bad--it plays for the most part like a standard noirish "woman's film" from the forties. Since this sort of thing was Davis' specialty, she isn't particularly out of place here. Some of the dialog is dated and over the top, but not nearly so much as this film's detractors would have one believe. What truly stays in the mind is Bette's awful appearance--she's obviously too old to play the part of the small town sexpot, Rosa Moline. Beyond that, she's made to wear some awful black fright wig that makes her prematurely saggy face look positively witch like! As a romantic interest, she stretches our sense of credibility (however, I will allow for the fact that black Maria Montez type hair was probably thought sexy in those days-and she does grasp a sense of how a faded small town belle might try to put herself across, as she swaggers around with false bravado in her tight dresses and sexy ---- me shoes. All in all, not as bad as they say--the whole project probably shocked Davis herself (as well as quite a few critics who generally not kind to it) into realizing that her leading lady days were numbered. A strange career move in the lengthly career of a great, if misunderstood star.

Only Bette Davis (along with Joan Crawford) could take a trashy film and make it absolutely compelling. No, this isn't a good movie, probably not even a fair movie but oh, Bette, you make it all worthwhile.

Bette wears the worst wig of her career, some really surrealistic make-up and was years too old for the part......so what?? When she delivers those famous lines "What a dump", you could jump for joy. This is Davis at her campiest and you can bet she knew it.

The story line is fairly simple. A small town bitch wants to be a big city bitch and takes a lover to attain that goal. She couldn't care less that she has a husband, played by Joseph Cotton, when she sets her sights for the boyfriend played by that perpetually bland actor David Brian. All hell breaks loose as Davis chews up the scenery and her fellow actors. The final scene as Davis drags herself to the train station is the raison d'etre for the cult following that has developed around this film. It is a film lovers delight. She was some dame!!!

Is BEYOND THE FOREST an overripe and over-the-top potboiler or a potent, underrated film noir? Both, actually, with an emphasis on the latter. This is film noir's MADAME BOVARY wherein a provincial housewife's romantic fantasies and big city dreams bring tragedy to everyone in her orbit and it's the "twisted sister" of Vincente Minnelli's ode to Flaubert's driven, deluded anti-heroine, released the same year. Nineteen forty-nine was the year of the desperate housewife in Hollywood- in addition to Bette Davis & Jennifer Jones, there's also Audrey Totter in TENSION and Lizabeth Scott in TOO LATE FOR TEARS, postwar noir women who "expect and demand a better life and plan to achieve it by any means necessary".

Forty year-old Bette Davis "with her low-cut peasant blouses, long black wig, and carmine lips" is unquestionably miscast but, like the film itself, that actually works in a perverted sort of way. If Virginia Mayo had been cast (Davis actually lobbied for her), it would have begged the question, "why doesn't this beautiful girl just hop a bus to New York or Hollywood or something?" but with a not-so-young-anymore Rosa -out of options and rapidly running out of time- there's a palpable sense of entrapment as the irrational resentments that have simmered for far too long are ready to erupt. Still, the movie also has its amusing aspects and you can't help but smile as Rosa sashays down the street and all the men stop and stare. How could a past-her-prime, dimestore siren like that keep Joseph Cotten and David Brian in such thrall? Why, sex of course. Rosa no doubt did things in bed they couldn't get enough of, much like the hold Wallis Simpson had over the Duke of Windsor. The crime of Rosa Moline was similar to that of Phyllis Hochen in THE UNHOLY WIFE (desperate for a way out, she ends up shooting her husband's best friend) and from the overblown opening prologue scroll to the mounting hysteria and rampant symbols of Hell that culminate in a "shocking conclusion", Vidor's "Bovary" casts a spell as well. Written off as a "camp classic" for years, BEYOND THE FOREST has been reassessed of late:

Bette Davis tires of life married to a small-town doctor, so she takes off to Chicago for an affair, hopping the most monstrously phallic train in film history. Her frenzied performance is met on the other side of the camera by director King Vidor, who matches her excesses shot for shot. The "What a dump!" line quoted in WHO'S AFRAID OF VIRGINIA WOOLF? originates here, though it's actually one of the film's more naturalistic moments. Much of Vidor's late work flirts dangerously with camp; this 1949 effort, I'm afraid, frequently succumbs, though it has a weird kind of power and integrity. With Joseph Cotten and David Brian. -Dave Kehr

BEYOND THE FOREST, with its main character's dissatisfaction with small- town middle-class morality, its big-city expressionistic mise-en-scène, and Davis, with the most extreme portrayal of a malignant bitch of the forties, we have a work that is firmly rooted in the tradition of film noir...this paean to amour fou is one of the most operatic of all films noirs -at once both moralistic and obdurate, grandly emotive, overbearing, and magnificent. -The American Film Noir

A TV perennial back in the day, legal hassles prevent King VIdor's unsung noir from being shown today. As of this writing, it's not in the Warner Archives and TCM hasn't aired it in well over a decade. That's a shame.