A piano teacher believes that her fiancé, a cellist, was killed on the battlefield. When he returns alive, they marry, but are menaced and threatened by a wealthy, egotistical composer she started dating on the rebound.
A lawyer whose wife has had an affair sets out to leave her by flying to LA. He becomes ever more involved in the lives of a few fellow travelers on a journey that ends up showing him as much about himself as about the others.
Middle-aged Oscar winning actress Margaret Elliot - Maggie to those that know her - is a Hollywood has-been. Her life is in shambles. She clings to the hope of resurrecting her past movie stardom as a leading ingénue. No one will hire her, she's penniless with creditors selling off anything that she owns that is of monetary value, and she has no one to turn to that can see her through financially. She has in the past supported her sister and brother-in-law, who still want to use her as their meal ticket. Divorced from her actor husband, she shares joint custody of their teen-aged daughter Gretchen, from who Maggie tries to hide her problems. When it looks as if Maggie has hit rock bottom, Jim Johannsen re-enters her life. Jim, who once had the stage name Barry Lester, got his big break in Hollywood movies by Maggie. He came to the quick realization that he was neither good as an actor or that he wanted to do it as a profession. He now works as a boat parts supplier and mechanic. Jim ... Written by
At least two different Oscar statuettes were used in the "c'mon, Oscar, let's you and me get drunk" sequence. For the first 18 years, Oscar statuettes had a short base. Starting with the 1946 awards (presented in 1947), Oscar statuettes had a taller pedestal base with a brass collar designed for personalized engraving. The statuette that Maggie holds in her apartment and in front of her old house have the pre-1946 base. The one she sets on the dashboard of her car has the newer pedestal base. The switch was made because the Oscar had to rest its head on the backside of the car's rear-view mirror in order to balance on the dashboard while Maggie drove around. Davis' two pre-1946 Oscars were too short, so a newer Oscar was used during shots of the car's interior. See more »
When Margaret Elliot goes out to drive with her Oscar, in the shot from inside the car she puts it behind the far side of the rear-view mirror. In the next shot, from outside the car, it has suddenly moved to the mirror's side nearest to her. See more »
Much of the reason Bette Davis did this movie was because it was apparently a movie based, in part, on the life of Joan Crawford. While this was never announced by the studio for fear of legal action, Bette apparently delighted in doing the part because she loathed Joan so much! Oddly, the movie also COULD have been based on Davis' life as well, as there were also many parallels, but I doubt if Miss Davis noticed this.
The star in the title refers to a down and out and faded movie star who is all but forgotten and given to getting drunk and screwing up her life. As a result, it is a very tough film to watch, as your skin crawls in embarrassment at just how low this actress has fallen. However, despite this, it is an excellent and "in your face" melodrama about the dark side of stardom. Davis' performance is excellent and just plain creepy!
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