Recently
there was hue and cry about the new streaming service HBO Max and their
decision to remove the 1939 Oscar-winning classic Gone with the Wind
from their lineup because of its no-question-about-it racial stereotypes. While
the intention might be admirable, there is also the danger of destroying a part
of cultural history that should be studied and learned from, rather than
rendering it invisible. Besides, viewers have a choice to watch a movie,
unlike, say, gazing at a statue on public display that is there for all to see
no matter what.
Another
Hollywood classic from the same era that certainly falls into identical
“problem†areas is William Wyler’s Jezebel, which earned Bette Davis her
second Oscar, awarded supporting actress Fay Bainter a trophy, and was
nominated for Best Picture of 1938. It, too, is set in the antebellum south
(New Orleans, to be exact) a few years prior to the Civil War.
What
makes Jezebel a shockingly potent film for today is that a) its
protagonist, Julie Marsden (Davis) is the type of white-privileged, spoiled,
and arrogant young woman who would be called a “Karen†on today’s social media
for causing a scene in public; b) the obvious racial inequalities, which are
inevitable when dealing with stories of the time; and c) the pandemic of yellow
fever—“Yellow Jackâ€â€”is a rampant plot point, and we see many characters wearing
masks!
Jezebel
was
rushed into production by Warner Brothers due to the huge success of the
publication of Gone with the Wind and the furor over MGM’s preparations
of adapting it into a film. Bette Davis was offered the lead role in Jezebel
after it was clear that she wasn’t going to be cast as Scarlett O’Hara in Wind.
Thus, Jezebel capitalized on the interest in Wind and was
released 21 months earlier!
The
story in a nutshell: Julie is staying at the plantation of her Aunt Belle
(Bainter) to escape the yellow fever epidemic that has hit where she lives. She
has her eyes set on banker Preston Dillard (Henry Fonda), but she has no qualms
with leading on the more rakish Buck Cantrell (George Brent). After Julie
causes a scandal by wearing a red dress at a ball in which all virginal,
unmarried women wear only white, Preston drops her and goes north on business.
Upon his return, Julie is surprised that he’s brought with him a “Yankee†wife,
Amy (Margaret Lindsay). Julie continues her bad behavior, egging on Buck to
insult both Preston and Amy, which leads to tragic consequences. Meanwhile, the
pandemic is getting worse and the disease is encroaching on New Orleans—drastic
measures are being taken to contain the outbreak, and it’s not pretty.
The
cast is quite good. Bette Davis is indeed spectacular in the role, and her
Oscar win is justified. For a picture released in 1938, her performance
contains unusual subtlety and nuances that were not typically a component of
screen acting of the era. Fonda is his reliable self, a man of principle and
honor, and he always does that well. Brent is suitably smarmy and yet likable.
The production is well made—director William Wyler at the time was becoming one
of Hollywood’s stalwart filmmakers; this early success assured his place on the
road to greater heights.
The
picture’s treatment of African-American characters is exactly what one would
expect from a Hollywood movie about the south as seen through the prism of
1938. Eddie Anderson (“Rochester†on The Jack Benny Show) makes an
appearance as one of servants working for the family. It’s not indicated that
all the black people on the plantation are slaves, but that’s what they are. In
stereotypical Hollywood fashion, they are all “happy slaves,†and in fact they
gather one night for a ritual sing-a-long to Julie. Yes, the scene is cringe-worthy
today, but one must critique movies within the context of when they were made.
Julie’s
behavior in the story may be abominable by the standards of the society
portrayed in the film, but isn’t she just asserting her independence and feminism?
Perhaps. Still, she does some nasty things to the men around her. This may
cause some audiences to have trouble buying her sudden turn toward redemption
at the film’s end.
Warner
Archive’s new Blu-ray edition looks marvelous. As a straight port-over in high
definition from the original DVD release, the feature comes with an audio
commentary by film historian Jeanine Basinger. Supplements include a featurette
on the making of the movie, a vintage musical short with Jimmy Dorsey and his
Orchestra, a vintage cartoon (“Daffy Duck in Hollywood,†one of the greatest!),
a promotional featurette with Davis on the Warners lot, and the theatrical
trailer.
If
you’re a Bette Davis fan, or an aficionado of classic William Wyler and/or
Hollywood fare, then Jezebel is for you. It does act as a time capsule
for a certain era in Tinsel Town, and for that alone it is a fascinating relic.
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The Warner Archive has released the 1965 film adaptation of Agatha Christie's oft-filmed Ten Little Indians. It's hard to imagine that the scenario of a disparate group of exotic strangers being summoned to a chateau by a mysterious host once seemed like a fresh concept. Certainly, the concept already had moss on it when this film was made. However, there is something timeless and intriguing about such a story line, primarily because it generally affords a star-studded cast to interact. There are no superstars in this European version of the story, but the movie is packed with wonderful actors. This time around, the individuals are invited to an opulent chalet atop a snow-covered mountain top, accessible only by cable car. (The location is never specified, but the exteriors were filmed in Austria and the interiors were shot in Ireland.) The victims-to-be include square-jawed American hero Hugh O'Brian, sexy Brit Shirley Eaton, fresh frommaking a sensation in Goldfinger, exotic Israeli actress Daliah Lavi, one-time teen idol Fabian, Swiss actor Mario Adorf, German actress Marianne Hoppe and a wonderful array of great British character actors: Wilfred Hyde-White, Leo Genn, Dennis Price and Stanley Holloway. Each of these people has a secret they are hiding and all are accused of being responsible for the death of an innocent person by their unseen "host" Mr. Owen (the voice of an uncredited Christopher Lee). The crisply-photographed B&W production evolves predictably under the competent, if unexciting direction of George Pollock, who had helmed the hit Miss Marple films starring Margaret Rutherford. The film is more serious in tone than those popular mysteries, but there is still a good deal of witty byplay as the diverse people try to find out what secrets their companions are shamefully hiding. The gimmick of murdering them off one by one revolves around the old Ten Little Indians children's rhyme. There are also some decorative figurines of Indian braves that adorn the dining hall and one of them vanishes each time a person is killed. In the time-worn tradition of such thrillers, as the group is reduced in size, they vow to all stay together in the same room. This logical solution to thwarting the murderer among them is dispensed with regularly, as the women saunter off into dark basements and up ominous staircases to investigate strange noises.
The film is curiously lacking in any genuine suspense, but it's glorious to revel in the sight of some legendary British actors trying to upstage and outwit each other in this deadly cat-and- mouse game. The story is consistently entertaining and the star power is more impressive today than it was back in the day. The climax of the film is surprising, if a bit of a stretch. It's all accompanied by a hip jazz score by Malcolm Lockyer that sometimes seems a too jaunty and upbeat for a tale revolving around serial murders. For sex appeal, O'Brian gets to walk around shirtless while Eaton has two (count 'em, two) opportunities to strip down to her bra and panties, reminding us why her early retirement from the film industry deprived young men of countless unrealized fantasies.
The Warner Archive region-free DVD is a crisp, clean transfer with only a few minor artifacts evident. There are some nice bonus features including a "Who-dunnit" gimmick that was obviously inserted into some prints of the film before the real murderer is revealed. The angle is worthy of an old William Castle horror flick as bombastic graphics and film clips are used to remind viewers of who was murdered and how they met their demise. The clip challenges them to take this 60 second slot to discuss with other audience members who they feel the culprit is. It's a hokey, but wonderful touch. There are also trailers for this movie and the Miss Marple films, as well. In all, an irresistible treat.
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