Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Thursday, May 21, 2015


Bette Davis plays a woman with a past (teenage mob bride); a present (annulled marriage to rich boy Henry Fonda); and a future (motherly sacrifice & triumph) in this unconvincing suds-fest from writer/director Edmund Goulding who should have known better. A remake of his own Early Talkie THE TRESPASSER/’29 (a big hit for Gloria Swanson), Bette positively glows as secretary to unhappily married Ian Hunter. He gallantly supports her marriage to Fonda, but the relationship can’t survive the disapproval of wealthy father-in-law Donald Crisp. It’s annulment . . . and a secret child. Four years on, Fonda’s remarried and crippled his new wife in a driving accident! So when he (and his dastardly papa) discover Bette’s raising the family heir, something’s gotta give. Then, just when you think things can’t get more ridiculous, in rolls Anita Louise, Fonda’s wheelchair-bound wife! She’s here to meet the little son she could never have conceived (conceived of?). As she & Davis play a rousing duel of motherly sacrifice, we might be watching one of those old movie parodies on the Carol Burnett Show.

WATCH THIS, NOT THAT: Goulding did far better by Bette in DARK VICTORY/’39; THE OLD MAID/’39 and THE GREAT LIE/’41.

No comments: