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23 of 25 people found the following review helpful:
5.0 out of 5 stars
Outstanding Bette Davis vehicle, December 24, 2002
"Dark Victory" is atypical for a Hollywood movie made in 1939 [or for that matter, for one made today] because it deals with terminal illness and it doesn't have a happy ending. The medical profession back then was less honest about the subject. A common procedure was to assure the patient that they were doing fine, even when the prognosis was negative. This deceptive practice and other factors date the movie, but Bette Davis' stunning performance as Judith Traherne always has and always will define the movie. For that reason alone, it is still eminently watchable. Judith is a vivacious, carefree member of Long Island society. Her passions are parties, her friends and her horses. After being thrown from her favorite horse, she admits to her best friend, Ann [Geraldine Fitzgerald] that the cause of the accident was a sudden blurring of her vision. This, she admits, is not the first time she's had this problem. After much cajoling of the stubborn, frightened Judith, Ann gets her to a specialist, Dr. Frederick Steel [George Brent], who diagnosis her as having a rare illness. An operation, which is unsuccessful, ensues, but the truth is withheld from Judith. During all this, patient and doctor fall in love with each other. Both the illness and Steel's well intended but deceitful way of dealing with it led to serious complications. Fitzgerald is excellent as Ann, George Brent [a matinee idol in his time] is adequate, but Humphrey Bogart, whose stardom was sill several years away, is wasted as Michael, Judith's horse trainer. His Irish accent is not at all good. You'll hardly notice, though, because your thoughts and eyes will always be on Davis. She displays virtually every human emotion, seemingly without effort. One of her great scenes is the one in which Dr. Steele is examining her for the first time. Her voice is bright and gay as she makes light about her problem, but her eyes and hands are telling us something completely different - fear to the point of terror. Reams have been written about how difficult Davis was to work with. In "Dark Victory", one can see part of the reason. She was so gifted that finding someone who could successfully play opposite her must have been a nearly impossible task. She made movies in which, I suspect, she was so angry and/or depressed that, consciously or not, she played a parody of herself. These movies created Davis the caricature. "Dark Victory" is not one of them. Here, Davis brilliantly plays an ordinary woman dealing with her own mortality. Highly recommended for this reason alone.
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