The oldest movie theater near where I grew up was built in 1938 and by some peculiar coincidence, Bette Davis is said to have driven by the establishment time and time again. Being the iron-willed personality that she was, the rising star demanded they open with her latest movie. (I assume very few people crossed Bette Davis and lived to tell about it.)
Thus, the first film ever shown at the newly minted theater was her very own Jezebel. One of the attractions of the theater to this day is an old-fashioned parlor in the ladies room reminiscent of the days when women used to sit together while powdering their noses and sharing in the latest trivialities and juicy bits of gossip. At least that’s how I imagine it.
In truth, Jezebel would prove to be the actresses consolation prize for being passed over for the leading role in one of the biggest cultural attractions of the era, Gone with the Wind (1939). Though Davis was beloved and already extremely popular with the viewing public, the big wigs got the final say choosing Vivien Leigh instead. Of course, the rest is history.
But it’s difficult not to look at Jezebel in juxtaposition with its arguably more opulent and ostentatious rival. That begins with the differing palettes — black & white vs. color — and subsequently bleeds into the running times and comparative success as well.
Surely, Henry Fonda is no dashing rapscallion like Clark Gable, but I find him a more understated hero. More pleasantly reserved. Likewise, while Selznick’s behemoth production was a cash cow, you wonder how he was able to tie the picture together with so many moving pieces and names attached as directors, cinematographers, etc.
William Wyler guides Jezebel with his usual expertise and professionalism, cementing a long and fruitful partnership with Bette Davis. Not that they always were the perfect symbiotic relationship; he soon earned the nickname “99 Take Willie” and Davis was already known for her aforementioned recalcitrant nature.
But there’s little denying that they made each other better. He elevated her performance with his care and the collaboration with long-time cinematographer Ernest Haller lighting her in each scene, creates an ongoing continuity, while Davis brought something authentic and inherently obstinate, fearlessly commanding the screen.
This particular story takes us back in American history to Antebellum New Orleans in 1852. Davis makes a stirring impression as southern belle Julie Marsden arriving late to a fine to-do, not even changing out of her riding crop before bursting in on the company. The churlishness of her impropriety is startling and utterly appalling to the ladies and some of the gentlemen trained up by decades of Southern civility.
Ladies just don’t do such a thing. It isn’t decent. But you get the sense that’s precisely why Davis is impeccable for this role as a woman who willingly tramples over the normative without a second thought. She’s simultaneously an audacious nonconformist and a destructive force clouded by her own pettiness.
She currently resides with her hospitable and generally courteous aunt (Fay Bainter) who nevertheless has her hands full with such a strong-headed woman in her home. The most crucial personal conflict begins with Jezebel’s beau Preston Dillard (Fonda), an up and coming banker. They have a disagreement as he seems more taken with his work than with her.
However, for Julie, in her egocentric world, she is all that matters, and in a form of brash retaliation, she disregards traditional protocol again by ordering a scandalous red dress to wear to the forthcoming ball. Why is it unheard of? Because unmarried women are only ever seen in white. Never in their life would they dream of donning such a brazen symbol.
Throughout the entire film, Davis’ wardrobe, designed by Orry Kelly, essentially becomes an extension of her character, embodying her individuality and defiance of the culture she finds around her.
Henry Fonda maintains a quietly stern resolve much to his credit. Because at face value I always take him for a benevolent soul, and he is when the moments of sincerity are called for. But one cannot acknowledge his candor without remembering the other scenes in You Only Live Once or The Grapes of Wrath where his utter alienation with the world is palpable.
Thus, he’s able to hold his own with Davis even if, by design, this is her picture. The steadiness of his own demeanor is able to be her counterbalance while also confronting the blind devotees of southern convention. Of course, it can’t be helped even as he and his mentor, Dr. Livingstone (Donald Crisp), try and speak sense into those around them.
Julie and Preston weather the Ball together as he forces her to make the ignominious walk of shame and subsequently dance with him, as all eyes fall on them stupefied. Their engagement falls to the wayside after that and Julie will not have him back.
Time passes as Pres goes up north for a spell and Julie becomes inconsolate, clinging to the hope that her former lover will come back to her on his hands and knees. She’s desperate and terribly broken up. Eventually, he does return, just like old times, and yet on his arm hangs his new wife, a charming northerner (Margaret Lindsay), who nevertheless gets slighted by her jealous rival.
In one last-ditch effort to make Prez jealous, Judy tries to use a cocksure southern gentleman named Buck Cantrell (George Brent) to stir up any dissidence she can between the two men. To a degree, her disingenuous contrivance works out in winning the man’s favor with consequences she cannot be absolved of.
Although the conflict between the North and the South is rising to a fever pitch, the film is never actually embroiled in the Civil War. Instead, it is stricken by the peril of the Yellow Fever which fails to discriminate between the rich and the poor.
We see most clearly in these waning moments the arbitrary nature of the southern moral code which would deem two men would have to die in a duel for absolutely pointless means. It’s infuriating to watch because no one’s honor was even at stake. It’s all on account of the needlessly puerile ploys of a woman completely consumed by selfishness, ultimately destroying the relationships around her.
Bette Davis’ pursuit of redemption at the end of the picture generally ruins what we are left with. Especially because she was well-known for playing strong often uncompromising women verging on the unsympathetic. That was part of her allure as an actor, making her so very unlike many of the Hollywood standard-bearers. She had those iconic eyes but also an implacable bullish nature. She’s always a cinematic force to be reckoned with even if her performance gets slightly compromised in Jezebel.