User reviews

Bette Davis is Kate and her twin Pat in "A Stolen Life," a 1946 film which also stars Glenn Ford, Walter Brennan, Charles Ruggles, and Dane Clark. We first see Davis as the artist Kate visiting the family's New England cottage (these people have homes everywhere). There she meets the drop-dead gorgeous lighthouse man Bill (Ford, in his first role after the war). She falls hard. Then we find out she has a twin sister who is much less reserved, sexier, and who goes after what she wants. On her way to a lunch date, Pat sees Bill, who mistakes her for Kate. One look at him, and she's ready to play along. But really, who could blame her? That day, Bill finds out that Kate is a twin, and that Pat turns him on - while he's only fond of Kate. Nature takes its course, and guess which Bette gets left out.

This is a very entertaining movie with Davis creating two different characters. In the very beginning, you don't know Davis has a twin. She returns home and enters her room with the light off, and her sister starts talking to her from the other side of the room - with a perkier voice, so not even that gives it away. Slowly, we realize they're identical twins, and that she hasn't let Bill into the house because her sister is a man magnet.

Glenn Ford is one film away from big stardom in "A Stolen Life" --next, he would romance Rita Hayworth in "Gilda." At 30, he was stunningly handsome with the easygoing, gentle, and sweet manner that would hold him in good stead for the next 45 years. Truly an ideal leading man. He and Davis get excellent support from Charles Ruggles, in a nice performance as the girls' cousin, and Walter Brennan, Ford's irascible lighthouse boss. Dane Clark's role is somewhat troublesome. In the John Garfield vein, he plays a rough, temperamental artist who teaches Kate to paint better and becomes interested in her, but his role drops off. The entire role could have been cut.

Davis was 37 when she made this film, which she produced herself. With three years left on her contract, it was sadly her last hit at Warners. Deservedly so, because she is terrific in the dual roles. She would repeat this device later on in her career with "Dead Ringer," and some of the plot points are reminiscent of that film.

Wonderfully entertaining and a must for Davis and Ford fans.

Bette Davis is at her best in "A Stolen Life" playing the most satisfactory characters in the decade of the forties. The mere idea of showing Ms. Davis on the same frame with herself must have presented a challenge for the director, Curtis Bernhardt. We can't think of any other actress that could have pulled this off with the elegance and the good instinct that Bette Davis brought to the project.

The mere fact of playing two women so different from one another must have been what inspired Ms. Davis to take the dual role, which proved to be one of her most popular on the screen. The good Kate is sweet and unassuming, while Patricia, the identical twin sister, is vain, envious and shallow. In taking Bill away from Kate, Patricia doesn't change her way of life, something that pains Bill, as he has second thoughts about the mistake he made in marrying the wrong woman.

The film will delight all Bette Davis fans because they will get two Bettes for the price of one. Ms. Davis' trademark movements and those expressive eyes are seen throughout the film. Glenn Ford proved to be the right kind of leading man because he always projected an honesty and an integrity little seen in other actors of his generation. Both actors make the movie work in unexpected ways.

The supporting cast is also interesting. Walter Brennan, Dane Clark, Charles Ruggles, and the rest are perfect in the background. The musical score by Max Steiner plays well with the action in the film. The excellent cinematography of Ernest Haller and Sol Polito adds another layer to the movie.

Curtis Bernhardt directed with flair and made "A Stolen Life" a film in which to cherish for the great performances he got from Bette Davis and Glenn Ford.

Twin Sisters played by Bette Davis both have the hots for Glenn Ford although why I'm not sure. He's not a terribly ambitious fellow, wants nothing more in life than to be a lighthouse keeper, maybe succeed Walter Brennan as head lighthouse keeper when Brennan moves on.

Bad Bette is a selfish spoiled brat who traps Glenn into marriage simply to spite good Bette. Then both sisters are out sailing and a sudden storm, much like the one that swamped the S.S. Minow succeeds in drowning one of the sisters. You have to watch the film to decide which one.

A Stolen Life is a Bette Davis triumph. It's not easy for any player to do multiple roles in any film. For that alone fans of Bette Davis should make this a must see melodrama. Additionally the special effects with the storm are quite well done.

Glenn Ford got a big career boost just in co-starring with Bette Davis, it was a break from doing the potboilers he was doing at Columbia. Dane Clark plays a truculent artist in the best tradition of a John Garfield wannabe.

The twins gimmick makes the film worth seeing. Bette was in a post war career slump from The Corn is Green until she left Warner Brothers and did All About Eve with 20th Century Fox. A Stolen Life is not the worst film she did during that period and she's got some good moments. But it isn't Now Voyager or Dark Victory or The Little Foxes.

I found the first half of the picture dragged for me, with a lot of dark shadows, and meandering scenes at the light house. Once the story picked up, and the "evil" twins goes over the side of the boat, then I knew I was in for some good old fashioned Bette Davis fun. I was very impressed with the creation of the "twins." For 1946, I found the scenes quite convincing, and wondered how they did that. The sets were fabulous, I'd take any of those houses, but thought the costumes were somewhat lacking. No, "Now, Voyager" stunning outfits for sure. Glenn Ford was fine, and very young, however I didn't care for the struggling artist side story. I would like to have seen much more of Kate trying to pass herself off as Pat, for that was the fun part of the film for me.

Wealthy New England artist Bette Davis (as Kate Bosworth) emerges late from her star vehicle, and misses the boat taking her to visit her cousin, the distinguished Charlie Ruggles (as Freddie Linley). Handsome young Glenn Ford (as Bill Emerson) happens by, and Ms. Davis bums a ride in his dinghy. The two pick up Mr. Ford's crusty lighthouse keeper, Walter Brennan (as Eben Folger). On the verge of spinsterhood, Davis is clearly attracted to Ford, and arranges to paint Mr. Brennan's portrait - but, she really wants to show Ford her etchings. Later, cocky Dane Clark (as Karnock) intrudes.

You can definitely sense some subtext and symbolism in this picture…

And, you can't go wrong with Bette Davis melodramatically falling in love amidst crisp direction by Curtis Bernhardt, beautiful black-and-white photography by Ernest Haller and Sol Polito, a sweet soundtrack by Max Steiner, and the crew at Warner Bros. Throw in the fact that Bette Davis (also as Patricia "Pat" Bosworth) plays her own slutty sister, and you've struck movie gold. Expect, of course, the titular "A Stolen Life" as the evil Davis moves to steals her sister's man. Assisted by special effects wizardry from Willard Van Enger and Russell Collings, both Davis and Davis are terrific in their roles.

******** A Stolen Life (7/6/46) Curtis Bernhardt ~ Bette Davis, Glenn Ford, Dane Clark, Walter Brennan

Bette Davis is reason enough to see any film and was always worth watching regardless of what the material was like, although she had a lot of great material in her career she did have some that was not worthy of her talent or gave her not enough to work from. She had a fair share of magnificent performances and was seldom bad. Have always been fond of Max Steiner, Glenn Ford was always watchable and Walter Brennan was always a pleasure (especially in the curmudgeonly kind of roles).

'A Stolen Life' doesn't see either at their absolute best. None of them come off too badly at all, with Davis of course coming off best, though all did work that was a lot better and stuck in the mind much more. Is 'A Stolen Life' worth the look? Yes it is and namely if one is a fan of Davis and wants to see as many films of hers as possible or wants to see everything left to see of hers (the case with me). Is it an essential? To me, it wasn't quite and could have been better than it was.

The best thing about 'A Stolen Life' is Davis, who is absolutely marvellous in her not-easy-to-pull-off dual role that she brings a lot of authority and pathos to. She is helped too by some of the best use of trick photography on film, expert use of split-screen. It is a very nicely filmed and made film, the interiors and the eerie lighting really standing out. Steiner's music score brings out a lot of emotion without going too overboard, well it is Steiner overall so that wasn't a surprise.

Script mostly is thought-provoking and when 'A Stolen Life' picks up in the second half, with the Kate's deception subplot, it is very entertaining. The cast generally do quite well, though nobody is properly up to Davis' level. Brennan comes closest tied with charming Charles Ruggles. Was slightly more mixed on Ford, although slightly uncharacteristically gormless he does quite well with what he has.

Conversely, 'A Stolen Life' does take a little too long to get started and the first part meanders. It can be a bit silly and the ending is sappy and too convenient.

Dane Clark's performance is also very weak, he has a role that one really questions the point of and he injects very little personality to it.

All in all, decent if not mind-blowing. See it for Davis. 7/10

I have lost count of how many times I've watched this wonderful film. Each time I get something from it and i believe it is Bette Davis best work - which is a big statement ! Viewers will be hypnotised by Bette's amazing performance and the filmography is truly amazing. To watch this film through modern eyes, you often find yourself trying to work out how the director and editor managed to get away with the 'two bette' film sequences. This is no evidence of 'lines' in the film, or murky backgrounds and if you didn't know it was the same women, you would really think they were twins. The story line is terrific, Glenn Ford (very young) fits the role perfectly and Dane Clark's performance is very direct and well played. There really is something for everyone in this film and a must watch.

"A Stolen Life", based on an obscure novel by Karel J. Benes (previously filmed in 1939 starring Elisabeth Bergner), has a whole lot going for it, but comes up short on dramatic fire. Pleasantly set on the East Coast around a seaside village and lighthouse, Bette Davis stars as a sort of spinsterish good girl, a Yankee "third-rate artist" who develops a big crush on lighthouse worker Glenn Ford. Unfortunately for her (and Ford!), the artist's identical twin comes into the picture, politely scheming away, and naturally the hunky dolt falls for the bad sister and marries her instead. The split-screen effect is very polished here, as are the performances, though this script is on the thin side. Davis and Ford make a somewhat odd romantic pairing (she seems a bit mature for him), and the final scene is unbelievably florid and fluttery-eyed. It doesn't convince for a minute, but the milieu and atmosphere are enjoyable regardless. **1/2 from ****

Man, give me two Bette Davises for the price of one and I could do much more with them than this movie does.

Bette plays twins, a good one and a somewhat naughty one, who find themselves caught up in some melodramatic angst when they both fall for the same jackass, played decidedly unwinningly by Glenn Ford. The good twin, Kate, initially has him, but the naughty one, Pat, eventually steals him. But then Pat dies, and Kate assumes her identity so that she can have him back, only to realize that Pat has made a complete shambles of her life, her relationship with this lunkhead included.

My wife and I kept waiting for what we were sure was going to be the money shot scene, Pat showing up at the last minute, not dead after all, to further complicate Kate's predicament. But that doesn't happen. Pat stays disappointingly dead, and Kate gets her man as Kate, though why anyone would want him remains the film's greatest mystery.

The fun in "A Stolen Life" is watching Bette act with herself through the help of some really impressive and Oscar-nominated special effects. She hands herself a cigarette, straightens out her own lapels, all of it visually seamless. But her acting is just as impressive as the effects. She does an impressive job not only making it look like she's interacting with another person but also at giving the two twins subtly distinctive personalities.

Dane Clark is also in the film, though I'm not sure why. He's yet another jackass who the film puts forward as a possible love interest for Kate, but then drops completely from the screenplay without telling us what the point was for him ever being there in the first place.

"A Stolen Life" is either a gender studies goldmine or nightmare depending on your point of view. On the one hand, the casual sexism and emotional indifference to women is nearly impossible to stomach from a modern-day standpoint. But on the other hand, the film is a fascinating if queasy time capsule of what the entertainment world thought of gender relations in post-WWII America, or at least what it thought audiences wanted to see.

Grade: B-

Davis fans get to double their fun in this well-crafted soaper. At the same time, the plot remains something of a stretch. Can twin Katie finally find happiness impersonating identical twin Pat. As herself, poor Katie is lonely, timid, and searching for an identity. Most of the time she spends folding her need into art painting. At the same time, twin Pat is outgoing, self-assured and bold; in short, Pat's everything Katie isn't. Nonetheless, Katie's future brightens when she meets what appears her soul-mate, Bill (Ford), on a lighthouse island. But then Bill meets seductive Pat, and they marry leaving poor Katie alone again. Now Katie faces a bleak future until fate intervenes and she must suddenly impersonate her twin. As Pat, however, the timid Katie discovers abilities she didn't know she had. But will these come at the cost of losing the subtle appeal that first charmed Bill. In effect Katie now lives a life stolen from Pat, but at what cost.

What impresses me most is WB's craftsmanship- the howling seas, the ace photography, and especially the undetectable doubling of Davis in the same shot. In those technologically lesser days (1946), I thought doubling in the same shot could only be done by splitting the film so that some distance on screen had to remain between the doubles. Here, however, that distance is often erased. I wish IMDB had some info on how they did it.

Acting-wise it's a Davis showcase, but the studio backs up its star in fine fashion. Speaking of Davis, she's mostly without her sometime theatrics, conveying the twins' personality differences in fairly subtle fashion. Ford too is well cast as an apparently sensitive working man, who nevertheless jilts sensitive Katie for philandering Pat. But I have to wonder about Dane Clark's arrogant role that appears peripheral to the main plot. Perhaps it's the studio's effort at promoting a promising actor before the public.

All in all, the soaper remains a polished production from Hollywood's golden period, even if the story requires quite a swallow. Meanwhile, Davis fans get to double their fun.

Bette Davis plays twins (she did the same in Dead Ringer) with a Patty Duke twist. A period piece right out of the 1940's and it looks it. I rather enjoyed the movie, but thought some of the plot and storyline rather unrealistic. Everyone seems to learn a lesson in this film and it seems to gravitate toward that point. The ending was rather sappy, but keeping in line with the story. I rather liked the Dane Clark character and felt bad that he was sort of left alone at the end. It is not really known if he knew the switch was made or not. Shows the posh life of the idle rich and seems to rub it in in the viewer's face. In any case, it is a interesting movie, well acted.

I was surprised that I liked this movie as much as I did. As an artist and someone who has worked with machinery, I found the budding relationship between artist Kate and lighthouse engineer Bill easy-going and authentic, plus I loved the scenes of sailing, boating, and the lighthouse in fog on a rocky island. I'm glad I stumbled upon it on broadcast TV one late night. The message that we should be true to ourselves was very hopeful. No movie plot with one actress playing identical twins will ever be plausible, but it makes for good fiction and is an interesting illustration of the actors' ability to stretch into unusual roles.

One of my favorite Bette Davis movies...it is romantic,the musical score is just perfect,it's scandalous,the ocean scenes,wardrobes are very nice, and Betty in her prime,her walk,her eyes,her diction and the ability to pull off the twin sister act with perfection....and of course Glen Ford as the leading man was absolutely great with a demeanor only he could portray...and the ending was perfectly set and was electric,intoxicating,very romantic....I loved this movie Gem ! She,Bette Davis, is one of my four favorite female thespians......the other three being Dorothy Dandridge ,Barbara Stanwyck and Olivia de Haviland from that Golden era. I only wish I could have seen "A stolen life" on the big screen.....My mom always talked about Bette Davis when I was growing up , I didn't discover her for myself until I was in my forties and I am so glad I did........I love good movies......this is a must see !

In this soaper of all soaper, Bette Davis gives an admirable performance of her dual characters, but Charles Ruggles steals the scenes. It's a girl flick that men will also enjoy.

If I had to choose just one film of Bette Davis at her best for a desert island this would be the one. Reviewers have called it a ' soaper ' a period piece ( aren't all films ? ) and ' unrealistic '. It is not a soaper ( I suppose that means a soap opera ? ) and it is certainly unrealistic. That is its major merit, and we should all have room for films that are not realistic, whatever that very loose philosophical word means. This is pure romantic wish fulfilment and bravo for that. Bette Davis made her career out of it and she turned middlebrow material into works of art. The direction is perfect, the quality of each scene effortless. And the cast is excellent, and Dane Clark shines in his role as well as the wonderful Charlie Ruggles with his fine delivery of dialogue. Now for Davis herself who takes on a dual role; two sisters wanting the same man. The drama is how this is resolved and its lack of that overrated realism comes into its own. The scene on the yacht is incredibly well filmed and a storm at sea is conveyed beautifully and full of excitement. I give this a 10 because I think it it is a credit to cinema and to a past that respected romance and fantasy.

Although almost all scenes are predicatable, this is still an enjoyable film to watch. I partiularly am impressed at how well they shoot the scenes with Bette as both sisters together, considering how long ago the film was made. It is also wonderful to see Glenn Ford again. It's been a long time. For those who are into a bit of nostalgia, I can easily recommend his film.

Bette Davis is smooth in this movie, an artist at her most powerful. She is confident, playing twins and taking names. I compare this flick to Possessed 1947, by the same director but starring Joan Crawford. The difference is astounding. This is a more accomplished movie, it's odd but the director seems more adept even though they are the same man. The sweet, good twin meets and falls for a simple hunky engineer, played by Glenn Ford. He tends to lighthouse equipment and works up and down the coast, she is an artist - a painter. The sexy, self-serving twin wins his heart and they marry, leaving the REAL Bette, the good twin (JK), broken-hearted. The twins go on a sailing jaunt, meet weather, and crash their little sailboat. The good twin wakes up with the wedding ring of the evil twin in her hand. Evil twin dead. Now what.

Kate (Bette Davis) travels to stay with her twin sister Pat (Bette Davis) and meets Bill (Glenn Ford) en route. Kate and Bill spend their time together on evening dates and at his lighthouse home - yes, he is one of those freaks who live in a lighthouse. However, once Bill meets twin sister Pat, he falls in love with her and the two of them get married. Kate is devastated. A boating accident allows Kate another chance into Bill's life.....

The storyline is just a heap of unconvincing nonsense and is quite slow. It drags on numerous occasions. Bette Davis does well in her two roles and is a class above the rest of the cast. Watch her reaction as both evil sister Pat and good sister Kate when Pat tries to throw her bouquet in Kate's direction. Top quality. Glenn Ford is OK, although he does resemble a gormless monkey on occasions. A mention for the character of the struggling artist "Karnock" as portrayed by Dane Clark - he is terrible - what an unrealistic performance. It defies belief but provides unintentional humour. The ending is a great example of pure Hollywood cheese. It's sappy and totally stupid but what we are all expecting to happen.

The film is OK in that it passes the time. A better film containing the twins theme that was released in the same year is "The Dark Mirror", in which Olivia de Havilland plays good and evil twin sisters. A better film starring Bette Davis from the same year is "Deception".