Jalousie

Irving Rapper's "Deception" reunited the three stars of a much better Bette Davis' vehicle: "Now Voyager". This is a film where all three stars shine equally. "Deception" was based on a play and the adaptation has opened it in unexpected ways. This satisfying melodrama has one thing going for it: the great music one hears throughout the movie, it's highlight being the Korngold Cello concerto, a rarity seldom heard, let alone in films. We are also treated to the beginning of Beethoven's Apassionata sonata as well.

Christine Radcliffe is a musician who gets separated from the love of her life, Karel Novak, one of the best cellist of Europe, before the advent of WWII. Christine comes back to New York, where she becomes the lover of a famous composer, Alexander Hollenius. One day, Christine discovers Karel's name playing in a second class venue in Manhattan, where they are reunited.

Christine doesn't have the nerve to tell Karel about what has happened in the intervening years. It's obvious Christine has done well for herself, as Karel discovers Christine lives in a great apartment, he finds closets full of elegant and expensive clothes, furs, jewelry, which doesn't make sense to him. Little does he know everything has come out of the generosity of Alexander Hollenius, a composer that fell in love with Christine and obviously, became her lover. Christine is coy in not revealing the truth, which keeps interfering with her happiness, until it comes to a head as Hollenius threatens Christine to tell it all to Karel after he plays the concert. It's at that point that Christine realizes she is cornered and must face reality and the fact that she will lose the man she really loves.

Bette Davis made a fine Christine, a woman she was born to play. Ms. Davis is amazing in the film, which unfortunately, is forgotten by all her admirers when comparing this role to her other great screen portraits. Claude Rains, who worked so well with Ms. Davis, gives an incredible performance as the egotistical composer who is afraid to lose his own creation. This has to be one of Mr. Rains' best appearances in a film. Paul Henried is perfect as Karel, the European cellist madly in love with Christine, a woman he thought he had lost forever. Mr. Henried is an elegant figure in this film, something that he projected effortlessly.

Ernest Haller's cinematography greatly enhances all we see on the screen. Mr. Haller was one of the best photographers working in that period, as he clearly shows here. George James Hopkins' sets not only are opulent, but he clearly knew how to get the most of his interior designs.

The film is an engrossing tale that will satisfy the fans of this genre.

Bette Davis believed her true love Paul Henreid was killed in battle. When he returns, their romance is rekindled But during the time he was believed dead, Bette had become involved with composer Claude Rains. Claude's not very happy losing her to Henreid. So Bette must take steps to ensure he doesn't ruin their happiness.

Paul Henreid is the weak link in this dynamic trio of stars. But, to be fair, he doesn't have the juiciest part. Bette is at her soap operatic best here, serving up her role with a hefty side of ham. Claude Rains owns every scene he's in. Like Bette, the man knew his way around a melodramatic role. Unlike Bette (usually), Rains could keep from going over-the-top. He's a better actor, quite frankly. But stars like Bette Davis and Joan Crawford aren't beloved for their realistic acting. People like them for their enjoyable excesses. They were the precursors to the television soap opera stars that would come decades later.

Wonderful sets and costumes, filmed beautifully. Glamorous production from Warner Bros. Loved the Erich Wolfgang Korngold score, as well as the other classical pieces featured. It's a fine melodrama with touches of film noir. Great performances from Davis and Rains. Fans of both will enjoy this one.

If you're in the mood for a flamboyant Bette Davis-Claude Rains melodrama, you've got to see this one. Rains all but steals the film as the genius composer with some of the cruelest and wittiest lines ever uttered by this talented actor. Bette matches him with a finely controlled display of emotions and Paul Henreid is altogether convincing in a rather thankless role as her ex-lover who re-enters her life and incurs the wrath of Rains. For the cello concerto, Erich Wolfgang Korngold provides a robust, darkly thrilling piece of work that gets the full treatment toward the climax of the story. A very satisfying look at Davis and Rains at the peak of their powers. I love the comment by Cecilia Ager of PM who wrote: "It's like grand opera, only the people are thinner. I wouldn't have missed it for the world." If you're a Claude Rains fan--and there are MANY, MANY of them out there--you might have read my profile on his career in CLASSIC IMAGES, a long article with many photos that appeared in the December 2000 issue.

I'll dispense with the details of the plot and move directly to Mr. Rains' performance as Hollenius the composer in this musico-melodrama.

This is his show although Davis and Henreid attempt to hold their own in this film.

His flair for manipulation and deception, hence the title, dominates the film.

He does a great job of it, driving everyone crazy with his shenanigans and jealousy.

The cinematography is well done and the story's setting in the world of post-WW II classical/modern music is interesting.

I noted that early on, for instance, as Henreid finished a performance, audience members asked him who his favorite living composer was..."Sibelius...or Shostakovich...?" No mention of Aaron Copland or the many other composers alive at the time.

Hollenius' work as a composer was a curious mix of tonal, traditional and slightly atonal influences, attempting to display "modern" music but watered down to keep the audience and us interested.

The mimicking of the piano and cello performances by all three actors was fairly well done.

I found it quite interesting too that both Davis and Rains were not "starving artists" like Henreid. Opulent apartments and lifestyles for piano teachers and composers were not common, but these two were well-off in an even garish sense.

This was not the reality of the time in the music world.

I'd recommend this film if you're a Rains or Davis fan. Henreid was not used for his full potential.

Deception (1946)

A marvelous chamber piece, in a way, involving orchestral music. The cast begins with two principals, played with usual intensity by Bette Davis and with usual restraint by Paul Henreid. This broods a bit and suggests trouble, and then comes the third player, who outdoes them both, in the form of Claude Rains. The rest of the movie is an interplay between the three, a push and pull and game of dodging and, of course, deception.

So how to judge this kind of tightly woven enterprise? It feels as though William Wyler could have directed it, so polished and rich it all is. But this is a Warner Brothers drama, so there is another kind of layer of dark danger, and of a noir inspired lighting and camera-work. This visual aspect, in a way, is the real star of the film, which says a lot, considering the high level of acting involved.

In all it's purely an entertainment, but at the highest level. The backdrop of classic music and classical musicians hasn't worn well over the years, but I grew up with this kind of scene and it brought back a lot of those vibes. A terrific movie within its own genre.