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Dark Victory

Dark Victory

Drama, Romance

William Wyler

Bette Davis, Henry Fonda, George Brent, Margaret Lindsay, Donald Crisp, Fay Bainter, Richard Clovelt, Henry O'Neill, Spring Byington, John Little, Gordon Oliver, Teresa Harris, Margaret Early, Owen Pittcher, Eddie Anderson

1938

United States

Film review analysis↗

Completed

English, French

104 minutes

2025-03-02 14:35:56

Detailed introduction

This film (drama)Also known asJezebel,is aUnited StatesProducerwomen sex,At1938Released in year 。The dialogue language isEnglish, French,Current Douban rating7.3(For reference only)。
After losing a lawsuit, Bette Davis returned to Warner Bros., where she managed to secure some degree of casting rights. At this time, Warner entrusted production responsibilities to the new style director, Hal Wallace, beginning a path of "high-cost, high-quality" filmmaking. Under these circumstances, Bette felt like a fish in water and quickly starred in another representative work, "Dark Victory," which once again won her the Academy Award for Best Actress: set against the backdrop of the Civil War in the southern United States, it depicts a strong-willed beauty who, after impulsively losing her boyfriend, tries various ways to win him back, even though he is now married. The film received critical acclaim upon its release the year before the groundbreaking "Gone with the Wind". Bette collaborated with director William Wyler on three films in succession, establishing her status as a super star. In fact, starting in 1937, Bette received the title of "box office queen" for ten consecutive years and was hailed as "the first lady of American cinema," a rare honor in the film industry. A careful observation of Bette's on-screen image reveals that she rarely portrayed roles that treated other women kindly; rather, she typically engaged in conflicts and fierce disputes with others, clearly exhibiting strong "same-sex exclusion" overtones. At the same time, Bette's roles also demonstrated that women could be tough, ruthless, and aggressive, even stripping away privileges traditionally viewed as male, making men suffer at the hands of women, thus positioning her as the first interpreter of "women's cinema."

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