Resentful of her small-town life, a married woman schemes to run off with a rich businessman.
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Title: Beyond the Forest (1949)
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Nominated for
1
Oscar.
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Cast
| Complete credited cast: | |||
| Bette Davis | ... | Rosa Moline | |
| Joseph Cotten | ... | Doctor Louis Moline | |
| David Brian | ... | Neil Latimer | |
| Ruth Roman | ... | Carol Lawson | |
| Minor Watson | ... | Moose Lawson | |
| Dona Drake | ... | Jenny | |
| Regis Toomey | ... | Sorren | |
| Sarah Selby | ... | Mildred Sorren | |
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Plot Summary
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Storyline
Rosa Moline is bored with life in a small town. She loves Chicago industrialist Neil Latimer who has a hunting lodge nearby. Rosa squeezes her husband's patients to pay their bills so she can visit Chicago; her husband's patience is also tried: he tells her to go and never come back. Once there, Neil tells her he doesn't want her. Back home and pregnant, Neil shows up and now wants her. The caretaker at Neil's lodge threatens to reveal her pregnancy... Written by Ed Stephan <stephan@cc.wwu.edu>
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New Warner Bros. Dramatic Smash! See more »Parents Guide:
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[She slams the car door in his face]
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(uncredited)
Music by Fred Fisher (1922)
Heard throughout as part of the background score
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Did You Know?
Trivia
Is referenced in "Who's Afraid of Virginia Woolf?" Martha repeatedly asks George for the name of the movie where Bette Davis says, "What a dump!" See more »Goofs
Near the end, as Rosa prepares to catch the Chicago train, the camera dollies backwards, away from her, and as it does, the equipment bangs into her closet door, causing the clothes hanging on it to sway back-and-forth. See more »Quotes
Rosa Moline: [to Neil] I came here dragging myself on my hands and knees with no pride. Me! Rosa Moline! And you don't want me. I'm not good enough. You taught me my place all right.[She slams the car door in his face]
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Crazy Credits
The film begins after the opening credits with this warning title: This is the story of evil. Evil is headstrong - is puffed up. For our souls sake, it is salutory for us to view it in all it's ugly nakedness once in a while. Thus may we know how those who deliver themselves over to it end up like the scorpion, in a mad frenzy stinging themselves to eternal death. See more »Soundtracks
Chicago(uncredited)
Music by Fred Fisher (1922)
Heard throughout as part of the background score
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Details
Country:
USALanguage:
EnglishRelease Date:
21 October 1949 (USA) See more »Also Known As:
Rosa Moline See more »Edit
Box Office
Gross USA:
$1,300,000Company Credits
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It was interesting seeing this soon after seeing The Man Who Wasn't There, the Coen brothers would-be 40s film-noir. Both movies are set in small towns, have way-out plots involving violent crime and illicit love, and feature main protagonists trying to get out of a rut. But whereas the Coens' nouveau-noir plays it deadpan, philosophical and slow, and thereby risks boring the audience stiff; the genuine article with King Vidor at the helm, races along, goes way over the top, and glues the viewer to the screen.
Melodramatic and flawed though it may be, I don't go along with those who regard the movie merely as a camp vehicle for some arch Bette Davis overacting as the "evil" Rosa Moline. This film has genuine substance and potency, and Hedda Gabler-like Rosa's near-hysterical exasperation with the suffocating small town atmosphere - symbolised by the ever-present smoke and dust from the local sawmill - and with her dull, worthy, medico husband (Joseph Cotton), must have rung a bell with many American and other women in the stifling post-war years. Her "What a dump!" quite probably echoed their inner thoughts, as may her reluctance to have a baby (contrasted in the film with another woman's eighth, delivered by the good doctor). Moreover, despite Davis playing a woman at least 10 years younger than her actual age, her scenes with David Brian as her wealthy lover are truly erotic, and some of the lines may raise eyebrows even today.
Those who dismiss this film should perhaps give it another chance, try to place it in the context of its era, and possibly ponder on how some of the "cool" masterpieces of today will be viewed by their grandchildren in 50 years time.