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DVD Dark Victory (Restored and Remastered Edition):

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  • Actor(s): Bette Davis - George Brent - Humphrey Bogart - Geraldine Fitzgerald - Ronald Reagan 
  • Director(s): Edmund Goulding 
  • Editor: Warner Home Video
  • Category: Feature Film-drama
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    List Price: $19.97
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  • DVD Dark Victory (Restored and Remastered Edition)


    Critic Pauline Kael called this shamelessly enjoyable, vintage Bette Davis weepie a "kitsch classic," and time hasn't diminished its ability to give the tear ducts a good flushing. Davis plays a swinging socialite, living the fast life of booze, smokes, and--with the help of Humphrey Bogart as her Irish stableman--raising thoroughbred horses. When a brain tumor starts giving her headaches and eroding her vision, she falls in love with her surgeon (George Brent), who grows more determined than ever to cure her. Davis gives one of her most vibrant performances, and her costars also include Ronald Reagan and Geraldine Fitzgerald. The film received Oscar nominations for best picture, best actress, and for Max Steiner's score. --Jim Emerson
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    Review(s): DVD Dark Victory (Restored and Remastered Edition)
    Excellent Movie starring Bette Davis


    One who enjoys real acting talent will love this movie. Bette Davis shines as a woman who is goign to go blind and struggling with the remaining days of her life. They don't make movies like this anymore watch it and enjoy!

    "I think I'll have a large order of...prognosis negative!"


    Long Island socialite Judith Traherne, the central protagonist in Dark Victory is going to face certain death. She has a crippling and degenerative brain disease that will eventually cause her to go blind and then die. This "prognosis negative" may not seem like the most optimistic subject matter for a movie, but under the sensitive direction of Edmund Goulding, Dark Victory takes on a shocking resonance and it's messages about death and dying are no doubt as timeless and probably just as significant today.

    Dark Victory is an embarrassment of riches, an unashamedly tearful melodrama that features an absolutely electrifying, compelling, tour de force, tear-jerking performance from Bette Davis as Judith Traherne. Davis is in top form here, playing the doomed socialite with a neurotic, disturbed, and formidable intensity; she encapsulates the screen being as redoubtable as ever, with Judith insisting on her dignity even as a grave illness she seems to have beaten returns with an unbeatable vengeance.

    Plagued by eye trouble, severe headaches, and a numbness in her arm, Judith is encouraged to meet with renowned doctor and brain surgeon Frederick Steele (George Brent). Judith knows deep down that something is terribly wrong, but she's a feisty strong-willed young woman who believes in just getting on with life. Consequently, she has slipped into a state of perpetual denial. Once Dr. Steele forces her to face the truth about her illness, Judith begins to fall in love with the handsome and dedicated doctor, admiring his affable and sensitive ways.

    Surgery is obviously the only option, and at first, things seem to go well, but her crippling disease eventually comes back to haunt her and she's given only months to live. Ann King (Geraldine Fitzgerald), Judith's secretary and best friend, conspires with Frederick to keep the seriousness of Judith's her illness from her. They both do it, not out of spite or selfishness, but out of a gesture of love, and a desire to see Judith happy in her remaining months.

    Judith gravitates between a whimsical carefree attitude towards her plight and a kind of stoic concern that things will be eventually work out all right for her. She friskily wrangles with her beloved doggies while still in bed, then bounces into the day in her silk pantsuit pajamas, all the while exchanging familiar niceties. It isn't until she learns the deadly ramifications of her illness that she starts to go off the rails, boozing with the playboys, smoking too many cigarettes, and soliciting the attentions of a smitten proletarian stable hand (Humphrey Bogart).

    Dark Victory, for all it's foreboding and depressing themes, is actually quite uplifting and is also deftly paced and smartly energetic. Judith gets a new lease on life when she falls in love with Frederick and even though certain death draws near, nothing can stop her from continuing her savvy business deals, keeping prospective suitor Ronald Reagan on drunken hand, and leaping atop a galloping steed. Mawkish sentimentality, the hairpin turns of the plot, and even the not-so-subtle changes of heart by the central characters, never bog down the film or make the story too heavy-handed and overly maudlin.

    Dark Victory ended up being one of Bette's biggest box office hits, and one can easily see why. This is a towering and commanding performance of unabashed melodrama and one of the most definitive pictures of her long and distinguished career. You never quite get used to seeing Bette this way, and you wish she'd been given even more chances to shine and play such a complex, intricate, and nuanced character as Judith Traherne. Mike Leonard July 05.


    "I think I'll have a large order of prognosis negative!"


    You can see why this was Bette Davis's favorite film she did for Warner's: as a impetuous Long Island socialite dying from a brain tumor, she gets to run a real gamut of emotional states, from defensive nerviness to terror to giddy elation to fury and finally to the kind of noble self-sacrificing glamor Davis adored. And she IS splendid in the part--the film is worth seeing if only as a kind of astonishing catalogue of her techniques and styles (and she was probably the single most gifted star of the studio period). But this melodrama just isn't up to the standards of some of her later Warner's work, like THE LETTER and NOW, VOYAGER. The other actors, while competent, aren't even on the same planet as Davis in terms of their ability, and the script lets them all down. There's a subplot involving Humphrey Bogart as Davis's stablegroom--!--from Ireland--!!!--that goes nowhere, and the silly plot mechanisms of how Davis's rumor works (after her surgery, it is guaranteed to kill her but without any pain, and signalled only by a sudden dimming of vision that allows for some very maudlin final moments) are pretty laughable. But it's all worth it to see her great drunk scene singing along with a nightclub chanteuse when she learns she's doomed--the final extended close-up in this scene shows Davis at her most remarable.


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