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Dark Victory (1939)

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33 out of 51 people found the following comment useful :-
When Death Creates a Passion for Life, 7 February 2006

Author: nycritic

*** This comment may contain spoilers ***

Judith Traherne, under other circumstances, could be that unsympathetic rich bitch that parties hard, hasn't a care in the world, and is a victim of her own whims much like today's Paris Hilton. Of course, had this film been done today with the character molded after the blond twit, we would have not just hoped she met her maker but maybe spawned a hideous creature from inside that tumor growing inside her head and gone to Hell in a hand-basket. Instead, Judith is not without her good points -- she's flighty and impulsive but not a mean person. She has it all... until she begins to get those pesky fainting spells and persistent headaches.

An actress who was at the top of her game at the time of the release of this movie, Bette Davis displays a marvelous gamut of emotions which layer her facial features and body language. This of course is crucial to understanding her character's psyche and if at times it seems a little overacted it's only because of the style of the times. Otherwise, her Judith rises above the male actors around her and comes to accept her destiny with beautiful dignity. Geraldine Fitzgerald, playing her friend and secretary Ann, is equally understated but moving as the one who stays by Judith's side. Both women reflect an interesting sisterhood about them; the transference of strength from one to the other is deeply affecting and one of quiet tears. Bette's final death scene is one of transcendent luminosity.

Nominated for three Oscars including Best Picture, Actress and Music Score, DARK VICTORY found itself pinned under the massive competition that came out in 1939 and received not one, but stands today as one of Davis' quintessential pictures.

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22 out of 34 people found the following comment useful :-
98% of me, 3 October 2005

Author: bkoganbing from Buffalo, New York

While I was watching my VHS copy of Dark Victory this afternoon, there was a quote from Bette Davis that her role of Judith Traherne was her most personal and that it was 98% of me.

It certainly is one of her most moving performances on celluloid. The movie is her show as so many of her Warner Brothers films were becoming at this point in her career. The rest of the cast almost stands back in awe of her.

We would call Judith Traherne a trust fund baby these days. Poppa made a fortune and drank himself to death, Mom is over in Europe as an expatriate. And she's got a big house on Long Island where she raises steeple chasers and gives a lot of parties.

But she's not an airhead. Bette Davis never was in any of her films. She's been having headaches and now blurred vision has been thrown in as a complication. When she crashes one of her horses into a side rail we the audience know right away that there are some serious health issues.

Dr. George Brent is called in on the case, he's a brain specialist. He operates and it's a success, but only in terms of relieving the symptoms. She's got a death sentence hanging over her.

The rest of the film is how she deals with it. Only an actress of incredible skill could have brought off the many mood changes that Judith Traherne has. If it wasn't for the fact that 1939 was the Gone With the Wind year, Davis might have gotten a third Oscar. She was nominated and lost to Vivien Leigh.

Humphrey Bogart was in this as her stable groom with an Irish accent that he was clearly uncomfortable with. My guess was that the brogue was there to emphasize the class distinction between Davis and Bogart. I'm not sure it was all that necessary for him, but at least it wasn't as laughable as the Mexican accent in Virginia City.

Geraldine Fitzgerald and Ronald Reagan are on hand as her two close friends. I understand that in the novel this is based on, Reagan's character is gay. This was the days of the Code, so gay was out. Probably in the long run helped Reagan's later career, given his politics playing a gay character wouldn't have gotten him entrée into his crowd. Still both he and Fitzgerald do very well as a couple of her friends who have a lot more character than most of them.

George Brent was Davis's perennial leading man. She was involved with him romantically at some point during her Warner Brothers period, I'm not sure if it was during the making of Dark Victory. He was a competent player who Davis could be sure would never upstage her.

I did however hear a clip from a radio performance of Dark Victory and George Brent's part was played by Spencer Tracy. Though Brent played in fact in the underplaying style that Tracy was known for, I'm sure if Tracy had ever done the film he'd have brought touches to the character that Brent could never have done. What a classic that would have been.

Dark Victory is a moving story that never descends into soap opera. This is Bette Davis at her finest.

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22 out of 36 people found the following comment useful :-
Wonderful Sentimental Movie, 15 October 2005

Author: Claudio Carvalho from Rio de Janeiro, Brazil

The twenty-three years old wealthy sportswoman Judith Traherne (Bette Davis) has painful headaches and double-vision, and the family doctor, Dr. Parsons (Henry Travers), convinces her to go with her best friend Ann King (Geraldine Fitzgerald) to a consultation with a famous specialist. After the physical examination, Dr. Frederick Steele (George Brent) finds that Judy has a lethal glioma brain tumor, and he immediately operates her to withdraw the tumor. However, the result of the biopic examination indicates that she has less than six months of life, but Dr. Steele and Ann hides the diagnose from Judy. Meanwhile, Judy and Dr. Steele fall in love for each other, and they decide to get married and move to Vermont. But Judy finds the correspondence from the laboratory and very depressed, she starts to drink and have a promiscuous life. Later, she realizes that she should spend the last moments of her life with her love.

"Dark Victory" is a wonderful sentimental movie with three nominations to the Oscar: Best Lead Actress (Beth Davies), Best Music Score (Max Steiner) and Best Picture (David Lewis). Although having an unpleasant theme, the message is beautiful and never corny. Bette Davis is amazing in the lead role, very well supported by Geraldine Fitzgerald and George Brent. Humphrey Bogart in beginning of career in the role of a horse whisperer, and the ham actor Ronald Reagan in the role of a playboy have a minor participation. Warner do Brasil only recently released this DVD in Brazil, in a Box with three other excellent movies of Bette Davies. Unfortunately, the Brazilian DVD has a great error in Chapter 18: the subtitles of the lyric of the song "Time for Tenderness" have the word "@ confirmar" (meaning "to confirm") on each line. I believe that who translated the song, wanted to confirm the translation, and sent the draft without deleting the markings to the DVD authoring. My vote is nine.

Title (Brazil): "Vitória Amarga" ("Bitter Victory")

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16 out of 26 people found the following comment useful :-
The ultimate tear-jerker!, 3 May 2001
Author: David Atfield (bits@alphalink.com.au) from Canberra, Australia

Not only is this sublime classic the greatest tear-jerker of all time (well, let's call it a tie with "Lassie Come Home"), it also contains one of the greatest performances ever given by Bette Davis. In the hands of a lesser actress this movie could have been a soppy pot-boiler. In the hands of Ms Davis it is close to being a masterpiece. If most of the supporting players can't match her it's no wonder - Bette is truly inspired here! The normally fine Geraldine Fitzgerald seems rather self-conscious in a difficult role (and an early one for her), and George Brent can't handle the really emotional stuff. But Bogart is stunning in that sexually charged scene with Bette in the stables. Ronnie doesn't have much to do, but Virginia Brissac is memorable as Martha and Henry Travers terrific as the old doctor.

Above all this is the excellent direction of Edmund Goulding, the fine cinematography of Ernest Haller and the great music of Max Steiner. Sure, dying in real life is never this beautiful, but don't we all wish we could go out with the style that Bette Davis does? Be warned: the last 15 minutes of this film are almost torturously moving - but then ALL of "Lassie Come Home" is. And don't we just love a good cry!

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17 out of 28 people found the following comment useful :-
Bette's victory, 3 November 2004

Author: jotix100 from New York

"Dark Victory" is a classic film of the 30s. In some movies, like this one, all the elements came together to create a satisfying entertainment that has delighted audiences since its release in 1939. Edmund Golding was instrumental in getting one of the best performances out of Bette Davis. The movie is helped by the fine score of Max Steiner.

As Judith Treherne, Bette Davis shows us why she was a great actress. She does some of her best work in this picture. Her interpretation of the socialite is right on target. Ms. Davis goes from a happy go lucky rich girl into the woman who has to face an imminent death. This film is so enjoyable because of the nuances Ms. Davis brought to the role. Bette Davis' range was enormous.

George Brent, as the medical specialist who tries to help Judith, and falls in love with her in the process, is also quite good as Dr. Steele. Geraldine Fitzgerald is wonderful as Ann, Judith's loyal friend. Humphrey Bogart appears briefly as the horse trainer. Henry Travers put in a small appearance as the doctor who brought Judith into the world, and sadly, is not able to help her much. Also in the cast, Ronald Reagan, who doesn't have much to do.

This is the perfect film to watch the wonderful Bette Davis at her best.

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12 out of 19 people found the following comment useful :-
A great Bette Davis movie, but I was surprised it had a credit error., 31 January 2000

Author: Arthur Hausner (genart@volcano.net) from Pine Grove, California

I've seen this movie three times (once in a theater) and it seems to get better with each viewing. There is no question that this is one of the best movies Bette Davis had made, with her skill evident in every scene she's in. With an able supporting cast, especially by Geraldine Fitzgerald and George Brent, and a fine Max Steiner score, movies do not get much better. I loved the scene where she orders "prognosis negative" in a restaurant just to let Brent and Fitzgerald know that she knows she's been lied to about her condition. It's just a wonderful movie.

I was surprised that such a prestigious film would have a credit error. The end credits list Lottie Williams as playing Lucy, where in fact she plays Agatha. Lucy was played by Diane Bernard.

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7 out of 10 people found the following comment useful :-
Another great Bette Davis film, 9 July 2001

Author: Wayne Malin (wwaayynnee51@hotmail.com) from United States

A spoiled young rich girl (Davis) finds out she's dying of a brain tumor (I think--it was sort of vague). Despite it all she falls in love with her doctor (George Brent), who loves her also. But she's going to die soon--what to do? What could have been a maudlin, depressing howler is actually quite moving. Bette Davis gives a superb performance--when she realizes she's dying, she doesn't turn into a weak, whiny victim...she becomes strong and self-reliant. Also Geraldine Fitzgerald turns in a great performance as her best friend--her and Davis worked well together. Great script, beautiful Max Steiner score and well-directed. Only two complaints--George Brent gives out a lousy performance as the doctor and Humphrey Bogart is uproariously miscast as an Irish horse trainer. That aside, top-notch all the way. A must-see for Davis alone.

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6 out of 9 people found the following comment useful :-
still gets me after all these years, 23 March 2002

Author: blanche-2 from United States

I was probably 12 years old when I first saw this film on TV. It was shown in two parts and I didn't get to see the second part, so my mother had to tell me what happened. Forty years later, I still cry every time I see "Dark Victory." It remains one of my favorite films for sheer use of Kleenex and my favorite Bette Davis movie, "All About Eve" being right up there with it. I even saw it on the big screen in a revival house when I was in college. Yes, some of the dialogue sounds corny now, like the good doctor saying, "Women never meant anything to me before". But the interesting thing is, when I did see it with an audience, though they laughed as some inappropriate spots, by the end you could hear the sobs on the next block.

There have been comments that Humphrey Bogart seems miscast in a somewhat minor role. I frankly thought he was just fine. He certainly was short enough to be a jockey and he pulled off the brogue. I'm sure it's confusing for some to see him in such a small role in 1939 when only a few years later, he was a total superstar. But he was under contract to Warners and kicked around for years before "High Sierra" and "Casablanca". He obviously wasn't working when "Dark Victory" was cast, so why let him sit around taking a salary and do nothing?

And of course we have Ronald Reagan as a playboy. I actually find him delightful in this film. It called for charm and he had it.

In today's fast-paced world, there's nothing stronger than a message about time and our use of it. "Oh, give me time for tenderness...just give me time." Like Bette's character, I want to hear that song again too, in many more viewings of "Dark Victory."

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7 out of 11 people found the following comment useful :-
Supreme tear-jerker is skillfully handled..., 4 May 2006

Author: Neil Doyle from U.S.A.

There are three central performances in DARK VICTORY that deserve praise for their sincerity and complete believability--BETTE DAVIS as the spoiled heiress, GEORGE BRENT as the doctor who falls in love with her and GERALDINE FITZGERALD as the conscience of the story, feeling pity and love for her dearest friend.

Davis trounces around through the first half to show us what kind of energy and volatility is flaring beneath the surface--so full of life that when she realizes her illness bears the stamp of "prognosis negative", it's a shock to the audience as well as the actress. She's at her level best in all of the quieter moments--and never more impressive than in the final ten minutes of the film where her character must face the impending death with dignity and the knowledge that she has her husband's love and her best friend's devotion.

The scene in the garden with Fitzgerald at her side is the most luminous in the entire film. It's worth waiting for just to watch two great actresses at work.

Max Steiner's score is fitting at all times--even in the final moments when Bette goes up the stairs accompanied by his melancholy main theme. Edmund Goulding gets sensitive work from his entire cast--with the exception of Ronald Reagan who is given absolutely nothing in the way of character development except to look tipsy in every scene. To say that he is wasted is an understatement. So too is Henry Travers as the doctor who brought Davis into the world. Humphrey Bogart has been criticized for his Irish accent, but he's at least acceptable in a minor role as a horse trainer.

But the three central performances are what hold the film together--and make what is essentially a sob story work so beautifully.

Trivia: George Brent is very effective in the doctor role that was first offered to Basil Rathbone, but then withdrew after a very bad screen test in the part convinced the studio (and Rathbone) that he was all wrong for the role.

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8 out of 13 people found the following comment useful :-
"Someday you'll learn that courage is in the blood.", 19 October 2005

Author: classicsoncall from United States

*** This comment may contain spoilers ***

I can just picture theater patrons leaving this movie during it's original release, not a dry eye in the house; an endearing testimony to the strength of Bette Davis' portrayal of the young snooty socialite turned human over the course of the story. As Miss Judith Traherne, Davis exhibits a wide range of emotion in her role, helping establish her reputation as one of film's finest actresses.

Along the way, Davis is supported by an unusually strong contingent of Warner contract players, most notably George Brent as the doctor turned husband, Frederick Steele. Established in a highly successful surgical career, Steele is continuously frustrated in his attempt to semi-retire to a life of research at his Vermont farm. Miss Judith is just his latest diversion, one that his professional reputation and personal responsibility will not allow to go without helping. During his association with Judith, he manages to fall in love, while creating the same intense and wonderful feelings in her. Where his nobility fails is in his attempt to keep Judith's true condition secret from her, in collaboration with Judith's best friend, Miss Ann (Geraldine Fitzgerald). Fitzgerald's performance in it's own way is almost as touching as Davis' own, as the loyal friend and confidante who must watch her best friend slowly fade toward an unhappy ending.

Ronald Reagan appears a number of times throughout the film as a member of Davis' social circle, and whether by design or not, he never appears sober. Henry Travers, the diligent wing earning angel from "It's a Wonderful Life" appears as Miss Judith's family physician in a subdued role. And to be completely honest, my original interest in this film was in completing my collection of Humphrey Bogart movies; here he has minimal screen time as a horse trainer with an eye for Miss Judith who realizes that his station would never allow for such a match up. It's interesting to see Bogey near the end of the film in the obligatory trench coat for which he's well known.

The film's ending is powerful and given added poignancy as Miss Judith plants a flower bulb after sending her husband off to an important medical gathering. With Judith's vision dimming, Miss Ann cannot contain her tears and is sent off by Miss Judith as well to remember happier times. As Judith stumbles up the stairs to her bedroom, the maid symbolically draws the curtain against the sunlight, while Judith says a final prayer, and it's over. Commence tears.

To date, my viewing of Bette Davis films have been limited to her collaborations with Humphrey Bogart, but that's a total of six films, more than any other pairing with my favorite actor. Edward G. Robinson appeared with Bogey in five films, and one of them, "Kid Galahad" also featured Bette Davis, once again in a role showing many facets of her ability. Intrigued as I am with her performance in "Dark Victory", I'll be looking forward to more of her films.

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