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Storyline
A young woman (Stanley Timberlake) dumps her fiancée (Craig Fleming) and runs off with her sister's (Roy Timberlake) husband (Peter Kingsmill). They marry, settle in Baltimore, and Stanley ultimately drives Peter to drink and suicide. Stanley returns home to Richmond only to learn that her sister Roy and old flame Craig have fallen in love and plan to marry. The jealous and selfish Stanley attempts to win back Craig's affections, but her true character is revealed when, rather than take the rap herself, she attempts to pin a hit and run accident on the young black clerk (Parry Clay) who works in Craig's law office. Written by
Bonnie Barber <bonbar@mit.edu>
Plot Summary
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Taglines:
"Go ahead! KISS ME!.. Forget you're married to my sister!"
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Did You Know?
Trivia
Jack Mower is listed in studio records as an actor in this film, but he was not seen in the print.
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Quotes
Asa Timberlake:
In my day, we didn't talk much about happiness. If it came we were grateful for it. But we were brought up in the belief that there were other things more important. Old foogy fantastic notions such as duty and personal responsibility.
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Connections
Featured in
All About Bette (1994)
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Soundtracks
"You're a Lucky Guy"
(uncredited)
Music by
Saul Chaplin
Played on the phonograph when Roy walks in on Stanley
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IN THIS OUR LIFE is an example of a film with perfect casting. Two-time Oscar winner Bette Davis plays the southern vixen, as only she could (Jezebel, The Little Foxes, et al.) and Olivia DeHavilland, another two-time Oscar winner, plays a fair-minded, compassionate lady--the kind of role she always played so well (Gone With the Wind).
When two actresses this dynamic come together on screen, it is always fun to watch. With the exception of Joan Crawford later in her career, Bette Davis would rarely cross paths with so formidable an actress on screen--and it is fascinating to see the differences in acting styles.
Davis is loud, brazen, shrieking--completely over the top as the willful, devious young woman, but it is an effective performance. This is, however, one of at least several films in which, it can be stated, Davis overplays. Not to burst any bubbles, but Davis was certainly not a subtle performer--and it really becomes obvious against DeHavilland's more nuanced, subtle style. Later, when playing opposite Crawford, Davis reverted to the same tactics, and overplayed, also successfully. Fortunately, in both instances, the overplaying was not out of character! Of DeHavilland it should be said that she is a wonderful talent. Here is a very beautiful, sensitive actress, playing a character drawn inward and timid instead of the fast and loose character Davis played as Stanley. DeHavilland is superb.
Also of note is the marvelous score by Max Steiner. Poignant, moody, magnificent; Max Steiner's music elevates any film.
The best thing about the film is the subplot about southern racism and bigotry. It was far ahead of its time and quite daring! Hattie McDaniel turns in an affecting performance as the mother of the young black man accused wrongfully of manslaughter charges.
John Huston directs the film with just the right pacing and style. It holds your attention from start to finish and the ending is especially rewarding.