Bette Davis and Paul Henreid play ex-lovers who were separated by the war. They both are musicians but he is reputedly a great cellist--just sitting on the edge of worldwide fame. When they become reunited, they marry.
However, since Davis assumed Henreid was killed in the war, she apparently became the mistress of a very odd and controlling composer/conductor (Claude Rains). While they never say that this is the case, she lives in a luxury New York apartment and they strongly implied this again and again. Throughout much of the film, Rains seems on the verge of spilling the truth to Henreid about his new wife but doesn't. Apparently, Rains is waiting--waiting for the best possible time to spring his trap--like a cat pawing at a mouse. Davis just knows that by the end of the film Rains will have ruined Henreid--just for the pleasure of destroying his ex-lover's husband.
The film has very good acting all around, though Davis is miscast. She is a decade too old to be playing the mistress. She was a wonderful actress--just not perfect for this part but she does give it her best. What I really liked about the film, however, wasn't the acting or even the script. The camera work and shadows as well as the music really were exceptional--especially in the big confrontation scene near the end. It has all the polish and style you'd expect from an A-picture from Warner Brothers.
Overall, I recommend the film and enjoyed it. While not nearly as memorable as the three stars' earlier collaboration (NOW, VOYAGER), it is a very good film and one that fans of classic Hollywood really need to see. One minor problem that kept me from giving it an 8 was the ending. After the big confrontation scene with Rains, the film STILL went on and on needlessly--blunting the impact of this great scene. Still, it's good stuff.
However, since Davis assumed Henreid was killed in the war, she apparently became the mistress of a very odd and controlling composer/conductor (Claude Rains). While they never say that this is the case, she lives in a luxury New York apartment and they strongly implied this again and again. Throughout much of the film, Rains seems on the verge of spilling the truth to Henreid about his new wife but doesn't. Apparently, Rains is waiting--waiting for the best possible time to spring his trap--like a cat pawing at a mouse. Davis just knows that by the end of the film Rains will have ruined Henreid--just for the pleasure of destroying his ex-lover's husband.
The film has very good acting all around, though Davis is miscast. She is a decade too old to be playing the mistress. She was a wonderful actress--just not perfect for this part but she does give it her best. What I really liked about the film, however, wasn't the acting or even the script. The camera work and shadows as well as the music really were exceptional--especially in the big confrontation scene near the end. It has all the polish and style you'd expect from an A-picture from Warner Brothers.
Overall, I recommend the film and enjoyed it. While not nearly as memorable as the three stars' earlier collaboration (NOW, VOYAGER), it is a very good film and one that fans of classic Hollywood really need to see. One minor problem that kept me from giving it an 8 was the ending. After the big confrontation scene with Rains, the film STILL went on and on needlessly--blunting the impact of this great scene. Still, it's good stuff.