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I’m apprehensive that so many reviewers here were disappointed in Bette Davis’ appearance, wardrobe, lighting and get up in this film. People, she was playing a tedious broke has been. She looked perfect for this role as Margaret Elliot, the once glamorous Oscar-winning star of the movies. Had she looked like the stylish Margo Channing of “All About Eve”, her “Margaret Elliot” wouldn’t have been as convincing.
Okay, the script wasn’t perfect, but Davis approached this material like a apt professional and gave the role everything she had, which was plenty. Davis never really cared about the draw she looked and favorite the fact that she was no Garbo or Jean Harlow. She had played unglamorous parts many times before. Miss Davis was a accurate actress, an artist.
The recount is “dusky”, yes, but if it had been anything else, it would have ruined this film. The atmosphere created by the director was appropriate for the place. Margaret was in anxiety. She was shrinking to death and was desperate to earn “relieve where I belong.” She felt that “one capable piece” was all she needed.
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After throwing her sister and brother-in-law out of her modest apartment in a screaming rage, Margaret grabs her Oscar, buys a cheap bottle of hooch and takes a drunken wander through the streets of Beverly Hills, stopping briefly by her conventional mansion where she sorrowfully breaks down in tears.
Davis looked like hell the morning after being bailed from jail by a used co-star (Edifying Hayden), who was miscast all over the status. She arrived home to bag out that her key didn’t fit anymore. She had been locked out for non-payment of rent. Defeated, now homeless, she tells Honorable Hayden, after he asks “where to? “, “isn’t this the demolish of the line? “
The papers are corpulent of the scandal the next morning prompting Margaret to prefer advantage of the “publicity” as she storms into her agent’s office and demands that he fetch her the role she’s wanted to play for years in a script called “The Fatal Winter”. “But, what about the papers? ” the agent asks. She retorts, “Joe Morrison is Inflamed about publicity!” She is troubled when Morrison (the producer) wants her to play, not the lead, but the lead’s older sister, Sara. Margaret is a STAR! So, she plots to pick up the lead by altering her camouflage test and playing Sara like a young siren so as to convince Morrison that he’s made a mistake. The test is unpleasant as played, but Davis, the actress was luminous.
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In this role, Bette Davis does everything but hit the ceiling! She pops her eyes, bites her consonents, screams, yells, gets drunk, fights with the police, gets thrown in jail, has the screaming meanies, tells off a couple of frail ladies, slaps faces and smokes cartons of cigarettes. Now, that’s acting!
When the Oscar nominations came out, Bette Davis was among the five nominees for “best actress” of 1952. Queer because Joan Crawford had been offered “The Star” and she turned it down flat. Davis had been offered “Sudden Apprehension” which she promptly refused. Bette had also been offered “Reach Assist, Itsy-bitsy Sheba” but didn’t feel the piece was proper for her, leaving Shirley Booth to advise her stage success on cover. So, Bette favorite “The Star” and Joan grabbed “Sudden Terror”. All three got nominated for the Academy Award! Booth won.
In 1952, Bette Davis’ career was on the skids. She, like Margaret Elliot, needed a juicy section to set her assist on top. This role didn’t do it, but it kept her working throughout the ’50s with varying degrees of success. My celebrated, besides “The Star” was “The Catered Affair” (1956) .
Despite the criticism I’ve read here of the film, I enjoyed it and it is an significant fragment of my film collection. Bravo Bette!
Bette Davis plays a washed up Hollywood movie queen with abandon, and her terrific performance earned her a ninth Academy Award nomination for Best Actress. In the role of Margaret Elliot, Bette infuses it with all the angst and self-doubt that a lawful has been might undergo.
Margaret Elliot, uninteresting broke, down and out, can’t glean a role in tinseltown. Drowning her sorrows in alcohol and self pity, Margaret is in serious denial about herself. As she spirals downward, both personally and professionally, a shapely man (Pleasurable Hayden), whom she had given a rupture to many years before, comes to her rescue.
When her agent manages to come by Margaret a test for the allotment of an older woman, and it looks like she may have a serious shot at it, Margaret, preferring to play the role of the ingenue, lets her ego lift over, and she flubs the test. When she realizes what she has done, her world comes crashing down on her, and self realization sets in. She comes to a crossroad in her life. What decision she comes to remains for the viewer to seek.
This is a nineteen fifties style melodrama, stark and grim. Bette has no qualms about appearing as a woman who is aging, as she appears with bags and circles under her eyes and has a somewhat jowly and bitter peep. The wardrobe is mostly drab, and the sets are pedestrian. This all works to do, as these accouterments are symbolic of Margaret Elliot’s unusual reality. Good Hayden gives a credible performance as Mr. Nice Guy, though there is a scene in which a moment of politically improper domestic violence is interjected. A teenage Natalie Wood appears in the role of Margaret’s daughter and is perfectly adorable in the role.
This is a film that Bette Davis fans are clear to be pleased.
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