Malignant Obsession-Bette Davis and Leslie Howard’s Film Adaptation of W. Somerset Maugham’s “Of Human Bondage” (1934)-A Film Review

DVD Review

By Sam Lowell

Of Human Bondage, starring Bette Davis, Leslie Howard, based on W. Somerset Maugham’s novel of the same name, 1934

No question love can take some funny turns from eternal bliss to the malignant obsession of medical student Phillip Carey, played by Leslie Howard, for waitperson (then known as waitresses) Mildred Rogers, played in an incredible performance by Bette Davis in the film adaptation of W. Somerset Maugham’s Of Human Bondage. The human, the very human capacity to find love in some very wrong places gets a full-throated workout in this 1934 film. Moreover even though the smitten and tortured character here is a man the feelings know no gender boundaries.     

The first problem for our troubled medical student is the class issue in very class-bound England then, and now. The play between the up and coming doctor and the tart-like waitperson could only spell trouble even if Mildred had been half as perfidious as she was-always looking for the main chance-for the next Mister Big. The second problem was that the very smitten Phillip was physically- challenged (then called crippled which Mildred at one point made a point of being disgusting to here). The combination would have been daunting even if Mildred had been less of an opportunist. See while she was leading Phillip on she was also seeing her meal ticket-her Mister Big. Phillip played the sap for her on that one thinking he would marry her when all she was doing was making moves to marry Mister Big. Well Mildred should have checked his credentials or at least his marriage because Mister Big dumped her-turned out he was already married. All he did was leave her to the wind with child. Still Phillip took her back.                  

Okay once is okay but then the next best thing came along, a fellow medical student of Phillip’s and she was off again. Still once it was question of helping or her on the streets with an unwanted child he succumbed again. But he was getting wiser. At least he wasn’t as smitten as in those fresh bloom days. All she kept doing though was holding him in contempt while feeding off his feelings for her. At some point, a point where a young gentile women is interested in him, he begins to withdraw, begins to break from his feverish desire for Mildred as she begins her descent down into well, the gutter, the ”life,”  the hard streets. In the end T.B got her (then called consumption and if I recall earlier called the vapors), left her on deep cheap street and an unloved grave. Phillip, well Phillip finally got himself free, got free once Mildred passed the shades. Took life in his own hands and grabbed that gentile woman who was made for him. Still Mildred let him a not so merry chase. An excellent performance by Miss Davis especially one scene when she went berserk and cut up all of Phillip’s precious nude paintings (he had started out as a failed art student) and another when after she had been finally rebuffed by Phillip she spewed forth her utter contempt from day one. Watch this one-and read the book too.            

The Girl With The Bette Davis Eyes- Somerset Maugham’s “The Letter”-A Film Review

Click on the headline to link to a Wikipedia entry for the Bette Davis film The Letter.

DVD Review

The Letter, starring Bette Davis, Herbert Marshall, directed by William Wyler, based on a play by Somerset Maugham, Warner Brothers, 1940

Not every black and white film is a noir and not every crime noir has a femme fatale although in both cases many are. Nor are all films based on the work of world literature figures like Somerset Maugham (although his reputation has been eclipsed somewhat since his 1920s-1930s heyday when he produced classics like The Razor’s Edge and Of Human Bondage). But the film under review, The Letter, is all of them, kind of. Sure the black and white crime noir is present although with a more than usual amount of melodramatic moments, and as noted so is the world literature authorship.

The real question is the femme fatale aspect. Now Bette Davis was an extremely fine actress during her 1940s and 1950s heyday (and earlier as well in such beauties as The Petrified Forest) but she never struck me as a femme fatale like Lana Turner, Lauren Bacall and Rita Hayworth. You know leaving the guys gasping for breath, and asking for more. No question in this role as the put-upon and isolated wife of a owner of a rubber plantation in pre-war (pre-World War II war to be precise) in colonial British Malaysia scorned by a wayward lover she matches any femme fatale with a quick, too quick, trigger finger when things don’t go her way. She certainly could use her wiles, feminine or otherwise, to get out from under the law, British colonial style. And she was just psycho enough to stand one’s hair on edge. But a lot of her actions (and frankly Davis’ performance) are just too mawkish to root for.

Maybe a little sketch of the plot will illustrate the point. As the film opens Ms. Davis is firing away with that old root-a-toot-toot like crazy at that scornful lover (Hammond by name) mentioned above. No question she is a classic murder one case, and let’s just wrap it up and ship her off to some English prison. Right. But she has a story; a fantastic story on its face about a known intruder making sexual advances to her while her husband is away. Moreover this is the 1930s colonial outback of the Empire and Bette is the proper wife of a stand-up rubber plantation owner (played by Herbert Marshall).

Needless to say, outback or not, murder is murder and the wheels of justice must grind along. A mere formality if her story holds up, a quick trial and she will be free. Except a certain letter, and hence the title of the piece, shows up in mid-plot from her to the intruder. Seems they were lovers, that she had been scorned, and that moreover he had picked up an inconvenient wife, a Eurasian wife to boot. Said letter was in possession of the wife who had her own ax to grind after Bette put six in her husband. A deal between Bette’s compromised lawyer and the wife suppressed this piece of key evidence that would convict Bette.

Bette thereafter was acquitted. Legally acquitted. But you know how those Eurasian women are. That was not to be the end of it. Naturally between a woman scorned and a woman bereft of her companion-lover something has to give. And instead of getting the hell out of town on the first boat, canoe or raft like any real femme fatale our Bette just steps into her fatal fate. See what I mean.

Out In The Be-Bop 1930s Night-When Primitive Man “Wins”- “Petrified Forest”-A Film Review

Click on the headline to link to a Wikipedia entry for the 1930s gangster classic, Petrified Forest.

Petrified Forest, starring Humphrey Bogart, Bette Davis, Leslie Howard, Warner Brothers, 1936


Okay here is the genesis of this review. Recently, being on a something of a film noir tear, especially a crime noir tear, I reviewed a little light puff of a noir film, Moontide, where well-known 1940s French film star Jean Gabon tried to break into the Hollywood film racket with a role as a tough hombre, seen-it-all dockworker who is really, just ready, to settle down after all the wine, women and song escapades have worn thin. And settle down in 1940s movie parlance (and maybe life too) was with a good woman and a white picket fenced house (or in this film a barge, it’s near the sea, see). The good woman, a kind of eternal working-class version of everywoman also happened to be down on her luck, and in that film was played by Ida Lupino.

Well, seeing Ms. Lupino in that role got me to think about a similar role that she played trying to be a good “wifie,” (and “mother” to the dog Pard) to Humphrey Bogart in High Sierra. In that film the grizzled Bogart played a serious desperado, a three-time loser desperado, Roy Earle, looking to “retire” to that picket-fenced house except the cops would not let him. Let him, especially after a certain messed-up resort hold-up caper went awry. And when Mr. Earle bought it, as it had to be since crime does not pay, grizzled wised-up gangster or not, Ms. Lupino was left to keep his memory fresh and keep moving on.

Of course all of that high Bogartism got me to thinking about other grizzled gangster roles (and grizzled detectives too) that the bad boy actor Humphrey Bogart played, and that led naturally to the film under review, Petrified Forest, where as Duke Mantee Bogart put in his bid for king of the gangster hill. In fact this film (he had also played the role on Broadway, I believe) first established him for that challenge. The story line here has him on the run from, what else, a busted bank robbery, and every cop in the Pretty Boy Floyd, John Dellinger, Bonnie and Clyde American untamed West was looking for him and his confederates. He winds up in a flea-bitten café located, where else, next to the Petrified Forest, a great symbol of humankind’s age old struggle to deal with nature, and to break with the primitive past.

And that isolated, flea-bitten café setting is important because there is a young serving- them-off-the-arm waitress, Gaby, played by a very young Bette Davis, as the owner’s daughter, trapped there, full of dreams, literary dreams, and a very, very strong to desire to put those silly tree rocks behind her. And, as the film opens, a very well-turned out gentleman/intellectual/ hobo/alcoholic, Alan, played by Leslie Howard, on his uppers trying to get off that dusty road. And that little tension, a tension that was palpable to audiences in the 1930s, between Bogart’s gangster take-everything-you-can-grab-and-grab-it-quick and Howard’s ordered intellectual world gone awry with the times, the 1930s despair times what they were, is what drives the theme of this one. Alan, knowing his time has passed, in any case, makes a pact with the devil to insure Gaby’s future hold on her dreams. And while Bogart, perhaps, played more memorable roles later he certainly was believable as the primitive man gangster trying to claim his rightful place in the modern world. Naturally, in movie life he must pay, pay big-time, with his life because we all know, or should know, that crime does not pay.