Maybe it was the prestige factor (Edith Wharton novel/Pulitzer Prize play), whatever the cause, everyone presses too hard at first in this Civil War Era story of cousins Bette Davis & Miriam Hopkins, rivals in love, then rivals for a child’s affection. Hopkins the worst offender, in needless competition with Davis, but it affects the whole cast and doesn’t right itself until post-war years, leading up to a ridiculously satisfying, one for the ages conclusion. It opens on Hopkins’ wedding day, as old beau George Brent (duller than ever) shows up out of the blue after two years to try and (re)claim his bride, only to run off with Davis as conciliation prize. Naturally, ‘you know what' happens, leaving an unwed Davis with little ‘Clementina,’ a child who grows up thinking she’s a foundling; Davis her prissy, repressed ‘Aunt’; and Hopkins an indulgent surrogate mom to love. Like interest at a bank, Wharton uses compound lies, compound misunderstandings, compound missed opportunity & compound coincidence to reward us with compound emotional dividends. Enough to provoke compound giggles here & there. But Davis finds her character’s secret in renunciation, never letting on she’s playing a long game for her daughter’s ultimate happiness & success. It’s as close as Davis ever got to playing STELLA DALLAS. Director Edmund Goulding was more comfortable with Davis in the contemporary settings of the just released DARK VICTORY/’39, but earns kudos for covering so much plot in 95 minutes without seeming to rush.
DOUBLE-BILL: Davis & Hopkins had even more fun loathing each other in OLD ACQUAINTANCE/’43.
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