Noirvember Fatale Attractions: Bette Davis in The Letter (1940) 💋

 

It begins with gunfire under a velvet moon, a woman in white, a man collapsing on the veranda, and the echo of something far more dangerous than passion. From that first shot, The Letter (1940) wraps us in its silken web of deceit, desire, and moral decay.

 

 

Directed by William Wyler and starring Bette Davis as Leslie Crosbie, this tale traces back to W. Somerset Maugham’s 1927 stage play, which first inspired a 1929 pre-Code version starring Jeanne Eagels (and even earlier, a silent short in 1925). But it was Davis who transformed Leslie into the ultimate study in controlled destruction, every glance measured, every lie delivered like a lullaby.

 

 

 “With all my heart, I still love the man I killed.”

 

That single line tells you everything. Leslie isn’t the raw chaos of Ann Savage’s Vera; she’s the calm storm before it hits. Dressed in white, she cloaks her guilt in gentility, a woman who shoots first and smooths her skirt after. Her power lies not in seduction, but in the way she performs innocence.

 

 

Opposite her is Herbert Marshall as the trusting husband, and James Stephenson as her lawyer, both drawn helplessly into her orbit. Under Wyler’s elegant direction and Tony Gaudio’s luminous cinematography, the lush Malaysian plantation becomes a stage for moral rot, where every shadow whispers guilt.

 

 

During filming, Bette Davis insisted that her wardrobe, especially that famous white lace dress she wears in the opening scene, be pure white to contrast with the violence of the murder. She believed the image of a “refined woman committing a brutal act” would be even more shocking against such innocence. Davis later said it was one of her favorite roles because it let her be, in her words, “utterly feminine and completely ruthless.”

 

 

 

Nominated for seven Academy Awards, The Letter remains one of the defining works of noir melodrama, proof that Bette Davis didn’t need a gun to be dangerous; her eyes were weapons enough.

Leslie doesn’t just tell lies. She is the lie.

 

 

Fade to black… until the next Fatale Attraction.   

 

Gene Tierney in Leave Her to Heaven (1945) 

🌟Classic Off-Screen Quotes: Bette Davis

“Without wonder and insight, acting is just a trade. With it, it becomes creation.”

🎥 Review: Winter Meeting (1948)

"I see now I was too happy. It was like Christmas morning when you’re little — too many presents, too much tinsel, too much of everything. You end up crying because you want it to go on and on."

Winter Meeting (1948) is an intentionally slow-paced, dialogue-rich romantic drama featuring Susan (Bette Davis) as a reclusive poetess who finds herself unexpectedly in love with a World War II hero Slick (James Davis). Through deep conversations, Slick encourages Susan to open up about her father's tragic suicide and her strained relationship with her mother. Meanwhile, Susan discovers Slick's inner turmoil and desire to become a priest. 

 

Despite its artistic ambitions, the film was a major box office failure, grossing less than half of its production and promotion costs. It marked Bette Davis's biggest flop at Warner Bros., following the disappointing reception of Deception (1946), which led Jack L. Warner to question Davis's box office appeal. With its somber tone, some viewers may find the film tedious due to the lack of chemistry between the actors.

 

 

Set against a wintry backdrop and directed by Bretaigne Windust, the film contains moments of genuine tenderness, such as a sleigh ride that epitomizes their fleeting connection. However, the harsh reality soon sets in, revealing that their romance is doomed, culminating in a poignant conclusion. While it may not spark much excitement, Winter Meeting delves into profound themes of love, sacrifice, and the intricate web of life's choices.

🍦Happy National Vanilla Ice Cream Day!

Bette Davis

 

 

🎥 Review: Three on A Match (1932)

 “I suppose I should be the happiest woman in the world. Beautiful home, a successful husband, and a nice youngster, but . . . somehow, the things that make other people happy leave me cold. I guess something must have been left out of my makeup.”

 

Today marks the 90th anniversary of the enforcement of the Production Code on this day in film history. The Hayes Code, or Hays Code as some like to call it, was established in 1930 but didn't start cracking down on those filmmakers until 1934. Its main goal was to keep films squeaky clean and avoid government interference. But before mid-1934, some movies were rebels who didn't care about those guidelines. This era gave us some raw and unfiltered cinema that truly captured the essence of the time. I'm low-key obsessed with pre-code flicks, there's just something so refreshingly honest about them. 

I recently introduced the pre-code classic Three on a Match from 1932, to my boyfriend, who had never seen it before. It was so fun to watch his 'what in the world?' reactions. The production code for this film is full of 'DON'Ts' - sexuality, adultery, drug addiction, criminal underworld, and lingerie! It blends timely issues and societal taboos into a fast-paced 61-minute runtime. Watching it with someone new brought a fresh perspective and made me fall in love with it all over again.

I remember being completely captivated by the grittiness of the material, the authenticity of the characters, and the reckless abandon of the scenes. I'd even go as far as to say that it's a fantastic movie to start with if you're curious about Pre-Code Films.

 

 

The title "Three on a Match" comes from a superstition that lighting three cigarettes from the same match would bring bad luck to the third person. This belief was said to have originated during World War I when people feared that extended match lighting would make them a target for enemy gunfire. However, it was later revealed that a match company had invented this superstition to boost sales by discouraging match sharing. 

 

A single match struck at lunch to catch up triggers a chain of events for one of the three women. It becomes evident that the three childhood friends who all graduated together from New York’s P.S. 62 have taken different paths since their school days, leading to quite distinct lives as they grew older.

 

Rebellious girl to reformed actress Mary (Joan Blondell), sweet class valedictorian to stenographer Ruth (Bette Davis), while the snobbish most popular girl in school Vivian (Ann Dvorak) is unhappily married to the wealthy lawyer Robert Kirkwood (Warren William) and has a young son (Buster Phelps). During the lunch, Vivian confides about her unhappiness. In a twist of fate, Vivian, who once looked down upon Mary's unrefined behavior, now finds herself filled with envy towards the two of them. She can't help but feel that her life has become tiresome and pointless.

 

Junior played by Buster Phelps

Warren William as Kirkwood

He suggests that Vivian should go on a solo trip to Europe to lift her spirits, bringing Robert Jr. along with her. During the trip, she meets a small-time criminal and charming gambler named Mike Loftus (Lyle Talbot). She's found her passion in him and they both disappear with her son. Vivian initially finds the excitement of her new life and forbidden romance thrilling, but excessive partying, cocaine, drinking, and smoking are taking a toll on her. 

 

Lyle Talbot as the swarmy gambler & hood Loftus

 

 

 

 

 

 

  Mary finds Ruth neglecting her dirty and hungry son. She persuades Ruth to allow her to take care of him. Unable to decide, Ruth discloses the child's whereabouts to Kirkland. Kirkland then rescues his son and marries Mary. Ruth becomes the child's caregiver.

 

Warren William lights two, not three cigarettes

Mary comforts Robert

Junior has a new caretaker in Ruth & stepmother in Mary.

 

Loftus manages to get into debt with mobster Harve (Humphrey Bogart's first role as a gangster, borrowed from Columbia) and his boss Ace (Edward Arnold). In a desperate move, he tries to blackmail Kirkwood by threatening to expose to the media that his new wife Mary had a criminal record for grand theft. When this plan fails, he kidnaps Edward Jr. 

Never blackmail the King of Pre-code Warren William!

Humphrey Bogart

The race is on to find the child and take down Harve, Ace, and their nasty henchmen Allen Jenkins and Jack La Rue. What will Vivian do?

 

I adore how LeRoy expertly nails the close-up shots and action-packed scenes in this film. In comparison to many modern movies that stick to static camera setups and medium shots, this one stands out. And let's talk about those newspaper headlines! Montages everywhere! 

 

 

 

 

 

                                           

 

These montages not only mark the passage of time (from 1919 to 1931) but also capture the distinct attitudes of that era.

 

 

Publicity Stills of Blondell & Davis.

 

Joan Blondell, in my humble opinion, is the ultimate Pre-Code queen. She effortlessly embodies her sassy and reliable self, delivering wisecracks and authenticity that are simply unmatched. (See what I did there? Lol!) In the role of the reserved and bookish secretary, Bette Davis gave a performance that left Director LeRoy less than impressed. Rumor has it, that she spent much of the filming period butting heads with him over her acting. 

 

“There was Three on a Match. They gave me three unknown girls in that one – Joan Blondell, Bette Davis, and Ann Dvorak. I made a mistake when the picture was finished. I told an interviewer that Joan Blondell was going to be a big star, that Ann Dvorak had definite possibilities, but that I didn’t think Bette Davis would make it. She’s been cool to me ever since.”-- (Le Roy 1974)

 

 

However, this is Ann Dvorak's film. Dvorak's compelling performance effectively portrays the impact of her drug addiction on her descent into poverty, as evidenced by her mental and physical deterioration. Blondell, William, and Davis share some lighthearted moments in the film, but overall, it is tough and direct.

 

Ann Dvorak as Vivian

 

The last eight minutes of the movie are unbelievably intense and I don't want to spoil it for anyone who hasn't seen it yet. It's one of the reasons why I love pre-code films so much, they know how to keep you on the edge of your seat! 

 

                                            Fun Facts

 

The role of the student character Vivian, portrayed by the young, brunette Anne Shirley, is credited under her original stage name, Dawn O'Day.

Virginia Davis, who was once recognized as the live-action Alice for Walt Disney in the 1920s plays a young Joan Blondell.

 

 

 

 

 

 

 Betty Carse is a young Bette Davis.

 

⭐Actors on Actors: Humphrey Bogart on Bette Davis

 “Even when I was carrying a gun, Bette scared the bejesus out of me.” 

Bette Davis in The Letter (1940)

⭐Actors on Actors: Bette Davis on Spencer Tracy

 I wish I could have worked with Spencer again when we were both big stars. We worked well together and we shared the same birthday, April 5th. I considered having the same birthday a very important sign. Of all of the male actors I worked with, Spencer Tracy appealed the most to me. I saw everything in him that Hepburn saw in him.

 

— Bette Davis, co-star in 20,000 Years in Sing Sing, 1932.