The Letter - 1940

The Letter, Bette Davis on Midget Window Card, 1941 Giclee Print
9 in. x 12 in.

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A classic melodramatic film noir of murder and deceit, effectively directed by William Wyler. The screenplay by Howard Koch was based on W. Somerset Maugham's mid-1920s London stage play (with Gladys Cooper in the lead role). Then, it was a Broadway play that opened in 1927 (with Katharine Cornell), followed by Paramount Studios' talkie of the same name in 1929 with Academy-Award nominated Jeanne Eagels (in her sound film debut) as the female protagonist. [It was the first full-length feature made at Paramount's Long Island studio.]

The film's startling opening scene occurs on a moonlight night on the grounds of a Malaysian rubber plantation. The wife of the plantation owner, Leslie Crosbie (Davis) trails after Geoffrey Hammond (Newell) as he staggers from the bungalow's porch, and pumps bullets into his body. She claims to her faithful, long-suffering husband Robert (Marshall) that Hammond, an old family friend, took advantage of her and that she acted in self-defense, but when lawyer Howard Joyce (Stephenson) is hired to defend her, a letter surfaces and reveals her real motives.

One of the trailers for the film provocatively asked: "What are the forbidden secrets in the letter? What is the strange spell that made this woman defy the unwritten law of the Orient?" Hammond's Eurasian widow (Sondergaard) uses the letter as part of a $10,000 blackmail scheme, demands a personal apology, and seeks the ultimate revenge. This great Bette Davis/Warner Bros. picture was positioned between the star's All This and Heaven Too (1940) and The Great Lie (1941).

Dark Victory - 1939

Dark Victory, Bette Davis, 1939 Giclee Print
9 in. x 12 in.

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Warner Bros. studios' sentimental, tragic and moving melodrama (a "weepie" or "woman's picture") - made in Hollywood's most famous and competitive year. The adult drama contains an electrifying, compelling, tour de force, tear-jerking performance from its major star -- Bette Davis. It was a bit of a risk for the movie studio to make and publicize an intense film about a terminally-ill patient with "prognosis negative." The protagonist is a young socialite-heiress named Judith Traherne (Davis), who suffers from a brain tumor and ultimately falls in love with her supportive and dedicated doctor Frederick Steele (Brent). In the midst of her deadly illness, she comforts her best friend Ann King (Fitzgerald), and courageously meets her fate when her eyesight dims. She climbs her stairs for the last time - accompanied by Max Steiner's swelling score in the film's finale.

Now, Voyager - 1942

Now, Voyager Framed Art Print
16 in. x 22 in.

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From the novel by Olive Higgins Prouty and enhanced by Max Steiner's score. A classic soap-operaish, melodramatic tearjerker from Hollywood's Golden Era. Repressed, middle-aged, frumpy, 'ugly duckling' spinster Charlotte Vale (Davis), from a wealthy Boston family, is controlled by her domineering, unloving mother (Cooper). During counseling at a sanitarium with a kindly, esteemed psychotherapist Dr. Jaquith (Rains), the frightened, frustrated, introverted woman is restored and transformed into a chic, more attractive, self-confident person. During a suggested South American cruise, she meets a handsome, suave unhappily-married architect Jerry Durrance (Henreid) and finds love through a bittersweet shipboard affair and a befriending of his shy and troubled, withdrawn daughter Tina (Wilson). Concludes with the famous line: "Oh, Jerry, don't let's ask for the moon. We have the stars" as the two share a cigarette smoke.

Jezebel - 1938

Jezebel Framed Art Print
16 in. x 22 in.

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Set in the mid-1800s New Orleans, a stylish, classic romantic melodrama about a headstrong, flamboyant Southern belle. To arouse the jealousy of her beau Preston Dillard (Fonda), willful, spiteful, tempestuous Julie Marsden (Davis) thoughtlessly and selfishly insists on wearing a scarlet red gown (rather than a virginal white one customarily worn by unmarried women) to the Olympus Ball - a major social function, defying social customs. She disgraces herself and is jilted by her embarrassed fiancee, who returns to Julie's plantation a year later. Without knowing that her estranged man has brought his new Yankee wife Amy (Lindsay), she surrenders to him. In further scheming, she rebounds and marries Southern gentleman Buck Cantrell (Brent), who dies in a duel unintentionally caused by her. Later, when Pres contracts deadly 'yellow jack' (yellow fever), she heroically redeems and atones for her transgressions by pleading with Amy to nurse his illness during the epidemic. In the final scene, she rides off with him in a wagon to certain death.

All About Eve - 1950

All About Eve Framed Art Print
16 in. x 22 in.
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All About Eve (1950), is a realistic, dramatic depiction of show business and backstage life of Broadway and the New York theater. The devastating debunking of stage and theatrical characters was based on the short story and radio play The Wisdom of Eve by Mary Orr. A cinematic masterpiece and one of the all-time classic films, this award winner has flawless acting, directing, an intelligent script and believable characters. The film is driven by Mankiewicz' witty, cynical and bitchy screenplay - through the character of Addison DeWitt, Mankiewicz represented his point of view and opinions about show business. Thematically, it provides an insightful diatribe against crafty, aspiring, glib, autonomous female thespians who seek success and ambition at any cost without regard to scruples or feelings. The acclaimed film also comments on the fear of aging and loss of power/fame.

It was nominated for fourteen awards - more than any other picture in Oscar history, until Titanic (1997) duplicated the same feat forty-seven years later. The skillful film won six Oscars: Best Picture, Best Supporting Actor (George Sanders), Best Director (Joseph L. Mankiewicz), Best Screenplay (Joseph L. Mankiewicz), Best Sound Recording, and Best B/W Costume Design. Four actresses in the film were nominated (and all lost). It holds the record for the film with the most female acting nominees.

The film was adapted and transformed into a Broadway play called Applause in 1970, with Lauren Bacall (later replaced by Anne Baxter!) as Margo Channing. Eddie (Ed) Fisher's sole scene was cut from the final version, although he still received screen credit as Stage Manager. The film is often noted as a "three suicide movie," for the deaths of George Sanders, Marilyn Monroe (although it may have been an accidental overdose), and Barbara Bates.