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Judith is a wealthy Long Island society girl given to a dizzy lifestyle… Self-assured of her affluence and her faculty over men, she is unprepared for tragedy, which strikes in the form of a brain tumor… The underlying bravery and courage with which she faces this physical suffering eventually demonstrates the woman of substance that she is…

Among her friends is Ann King (Fitzgerald), her secretary, and handsome young Alex Hamm (Reagan), who directs her toward brain specialist Dr. Frederick Steele (Brent). The doctor diagnoses her illness as one which will end her life within a year… Judith falls in love with him and accepts his proposal of marriage… When she discovers that her tumor is calamitous, she rejects the doctor's proposal considering it an act with compassion…

Davis provides scene after scene with the special magic only she was able of bringing vividly…

Swept into the current of events was Bogart playing an Irish horse trainer, who fails in an attempt to make love to her, yet encourages her to enjoy her time with her true love, George Brent…

The film was remade in 1963 as "Stolen Hours" with Susan Hayward, and as a 1976 TV movie under its original title with Elizabeth Montgomery

I was probably 12 years old when I first saw this film on TV. It was shown in two parts and I didn't get to see the second part, so my mother had to tell me what happened. Forty years later, I still cry every time I see "Dark Victory." It remains one of my favorite films for sheer use of Kleenex and my favorite Bette Davis movie, "All About Eve" being right up there with it. I even saw it on the big screen in a revival house when I was in college. Yes, some of the dialogue sounds corny now, like the good doctor saying, "Women never meant anything to me before". But the interesting thing is, when I did see it with an audience, though they laughed as some inappropriate spots, by the end you could hear the sobs on the next block.

There have been comments that Humphrey Bogart seems miscast in a somewhat minor role. I frankly thought he was just fine. He certainly was short enough to be a jockey and he pulled off the brogue. I'm sure it's confusing for some to see him in such a small role in 1939 when only a few years later, he was a total superstar. But he was under contract to Warners and kicked around for years before "High Sierra" and "Casablanca". He obviously wasn't working when "Dark Victory" was cast, so why let him sit around taking a salary and do nothing?

And of course we have Ronald Reagan as a playboy. I actually find him delightful in this film. It called for charm and he had it.

In today's fast-paced world, there's nothing stronger than a message about time and our use of it. "Oh, give me time for tenderness...just give me time." Like Bette's character, I want to hear that song again too, in many more viewings of "Dark Victory."

By today's standards, "Dark Victory" might seem cliched. Of course, that could be because it was so greatly copied! Here is Bette Davis, a star in the fullness of her talent and ability. Bette simply shines; she owns this film from first frame to last. Ably supported by a wonderful cast (including a somewhat mis-matched Humphrey Bogart as an Irish-brogued horse trainer), it is still difficult to watch the film and not be constantly anticipating Bette's appearance in any scene she isn't in. The ending, even in those days, might have turned out either wimpy or waspish. In Bette's hands, it is neither. It works in a way that literally drains one of emotions. I might also add that, while revealing only a bare back, Bette shows more sensuality than a dozen of today's more "open" actresses.

There is an old disparaging adage about "showing the full gamut from a to b," in this movie Bette not only shows A to Z, but some letters that haven't been invented yet.

Despite my gushing over Ms. Davis, the film is solid in all departments. If you wish to experience when melodrama is great movie-making, see this film.

There are three central performances in DARK VICTORY that deserve praise for their sincerity and complete believability--BETTE DAVIS as the spoiled heiress, GEORGE BRENT as the doctor who falls in love with her and GERALDINE FITZGERALD as the conscience of the story, feeling pity and love for her dearest friend.

Davis trounces around through the first half to show us what kind of energy and volatility is flaring beneath the surface--so full of life that when she realizes her illness bears the stamp of "prognosis negative", it's a shock to the audience as well as the actress. She's at her level best in all of the quieter moments--and never more impressive than in the final ten minutes of the film where her character must face the impending death with dignity and the knowledge that she has her husband's love and her best friend's devotion.

The scene in the garden with Fitzgerald at her side is the most luminous in the entire film. It's worth waiting for just to watch two great actresses at work.

Max Steiner's score is fitting at all times--even in the final moments when Bette goes up the stairs accompanied by his melancholy main theme. Edmund Goulding gets sensitive work from his entire cast--with the exception of Ronald Reagan who is given absolutely nothing in the way of character development except to look tipsy in every scene. To say that he is wasted is an understatement. So too is Henry Travers as the doctor who brought Davis into the world. Humphrey Bogart has been criticized for his Irish accent, but he's at least acceptable in a minor role as a horse trainer.

But the three central performances are what hold the film together--and make what is essentially a sob story work so beautifully.

Trivia: George Brent is very effective in the doctor role that was first offered to Basil Rathbone, but then withdrew after a very bad screen test in the part convinced the studio (and Rathbone) that he was all wrong for the role.

This is definitely a tear-jerker involving a young socialite Judith Traherne, (Betty Davis) who is full of life and an only child who gets her own way all the time, but is well liked by everyone. Judith loves horses and enjoys riding them and performing with them in various horse shows. The trainer of these horses is Michael O'Leary, (Humphrey Bogart) who loves his work and likes Judith because of her love for animals. One day Judith is riding her horse and her vision becomes blurred and she sees double and falls off the horse. It seems Judy is having bad headaches but does not mention it to anyone and her own doctor refers her to a Dr. Frederick Steele, (George Brent) who is a brain surgeon. Ronald Reagan appears in this film as a playboy drunk who is always drinking. Great performance by all the actors, but bring the tissue box, you will need it.

When Bette Davis was in ball buster mode, watch out!! But when she decided to suffer nobly, she could suffer with the best of them.

In "Dark Victory," Davis plays a woman dying from the deadliest of deadly diseases---the vague, unnamed illness that beautiful actresses died of in movies from the 1930s. The symptoms never seem to be the same, but they're always tear-inducing. Here, they make Davis go blind and we know when the disease is getting worse because a fuzzy black halo begins to appear around the edges of the frame.

Actually, this movie is a rather pale companion to the ultimate Davis melodrama, "Now, Voyager." But it has perhaps my favorite line ever delivered in a Bette Davis movie. She's found out that her illness is fatal, and she's at dinner with the doctor who has kept this from her to protect her fragile soul. When the waiter comes to take her order, she says, "How about a nice big helping of..." pause, as she throws the most withering of withering stares at her companion ..."prognosis negative." That should really be on a bumper sticker somewhere.

As for the other actors.....wait, other actors? No one watches a Bette Davis movie to see other actors. I'm not even sure there were any other actors in this movie.

Grade: B

Bette Davis always cited this as her favourite role: it is probably on a par with Margo Channing in ALL ABOUT EVE as the part which fans identify with as definitive Davis. Naturally, this 1939 film will look a little musty, corny and cliched to modern day viewers, but the poignant sincerity in which Davis instilled via her magnificent performance still has the ability to leave the viewer in helpless tears: you can be dumbfounded to think that something so obviously aimed at your tear ducts could succeed to induce the flow so completely and spontaneously! The role is based upon a 1934 play in which Tallulah Bankhead flopped. The character of Ann King was written especially for the film by director Edmund Goulding: as a kind of Greek Chorus so Judith wouldn't have to complain about the inevitable. Geraldine Fitzgerald, in her American film debut, does a wondrous job with the part of Ann: a beautifully etched supporting performance. As Michael O'Leary, Humphrey Bogart is unfortunately inept in the Irish brogue department (why couldn't they have simply cut out the accent?) and George Brent is adequately wooden as Dr. Frederick Steele whom Judy marries. Davis slams through a gooey collection of cliches in her nerviest style during the early segments but her metamorphasis into a vibrantly humbled married woman is quite a striking contrast to the selfishly brazen spoiled heiress: truly a multi-faceted performance. Ronald Reagan gets to play Alec, one of Judy's drunken swains, and Cora Witherspoon is memorable as the snotty Carrie. The last twenty minutes of the film are expertly crafted and timelessly tear-jerking: the movie sold more kleenex than any other of its day.

It's easy to see why Bette Davis admired "Dark Victory" more so than any of her other star-vehicles--her Judith Traherne is the quintessential Bette Davis character: smart, sassy, nervously gay, a drinking pal to the guys and a best buddy to the girls. Traherne is without malice, a real chum, and Davis plays her with fluttery vitriol and upper-crust glee. Long Island society girl, ailing but still strong, falls wildly in love with her doctor...but how can he tell her that she has very little time left to live? The supporting cast is made up of some odd personalities: Geraldine Fitzgerald's dedicated girlfriend seems to have no life outside of Judith's world (and performs her gal-pal duties with a curious severity); Humphrey Bogart is an Irish stable-hand with a secret crush on Judith (she's tempted, but ultimately conveys to him the old 'don't touch' message); Ronald Reagan is a country club type, always in a tuxedo and at the bar; George Brent is the brilliant surgeon who loves Judith (but he's faster with his fists than he is with words). Based on a play by George Emerson Brewer, Jr. and Bertram Bloch (which had starred Tallulah Bankhead), this chatty Warner Bros. weeper is glossy and flossy, a dithering, overstated, swooning romantic mini-epic for masochists. In other words, the archetypal Bette Davis film. *** from ****

While I was watching my VHS copy of Dark Victory this afternoon, there was a quote from Bette Davis that her role of Judith Traherne was her most personal and that it was 98% of me.

It certainly is one of her most moving performances on celluloid. The movie is her show as so many of her Warner Brothers films were becoming at this point in her career. The rest of the cast almost stands back in awe of her.

We would call Judith Traherne a trust fund baby these days. Poppa made a fortune and drank himself to death, Mom is over in Europe as an expatriate. And she's got a big house on Long Island where she raises steeple chasers and gives a lot of parties.

But she's not an airhead. Bette Davis never was in any of her films. She's been having headaches and now blurred vision has been thrown in as a complication. When she crashes one of her horses into a side rail we the audience know right away that there are some serious health issues.

Dr. George Brent is called in on the case, he's a brain specialist. He operates and it's a success, but only in terms of relieving the symptoms. She's got a death sentence hanging over her.

The rest of the film is how she deals with it. Only an actress of incredible skill could have brought off the many mood changes that Judith Traherne has. If it wasn't for the fact that 1939 was the Gone With the Wind year, Davis might have gotten a third Oscar. She was nominated and lost to Vivien Leigh.

Humphrey Bogart was in this as her stable groom with an Irish accent that he was clearly uncomfortable with. My guess was that the brogue was there to emphasize the class distinction between Davis and Bogart. I'm not sure it was all that necessary for him, but at least it wasn't as laughable as the Mexican accent in Virginia City.

Geraldine Fitzgerald and Ronald Reagan are on hand as her two close friends. I understand that in the novel this is based on, Reagan's character is gay. This was the days of the Code, so gay was out. Probably in the long run helped Reagan's later career, given his politics playing a gay character wouldn't have gotten him entrée into his crowd. Still both he and Fitzgerald do very well as a couple of her friends who have a lot more character than most of them.

George Brent was Davis's perennial leading man. She was involved with him romantically at some point during her Warner Brothers period, I'm not sure if it was during the making of Dark Victory. He was a competent player who Davis could be sure would never upstage her.

I did however hear a clip from a radio performance of Dark Victory and George Brent's part was played by Spencer Tracy. Though Brent played in fact in the underplaying style that Tracy was known for, I'm sure if Tracy had ever done the film he'd have brought touches to the character that Brent could never have done. What a classic that would have been.

Dark Victory is a moving story that never descends into soap opera. This is Bette Davis at her finest.

"Dark Victory" features a superb performance by Bette Davis, portraying Judy Traherne, a socialite struggling to come to terms with terminal brain cancer, a diagnosis that ironically brings her the greatest joy of her life, as she falls in love with and marries the doctor who diagnosed her, also superbly played by George Brent.

There's nothing really to dislike in this movie. The basic point is simple to figure out: whatever darkness you may face, make the best of it and live life to the fullest, because even in darkness there may be victory. The supporting cast is tremendous, particularly Geraldine Fitzgerald as Ann King, Judy's friend and assistant who helps her through this bewildering time of conflicting emotions. The movie is not exactly filled with suspense and there's no dramatic death scene, but the emotion is raw all the way through, and the sympathy the viewer feels for this couple who are so much in love but have so little time to enjoy it is very real.

This is very well done, and well worth a look see. I would rate it as a 7/10.

"Dark Victory" is a classic film of the 30s. In some movies, like this one, all the elements came together to create a satisfying entertainment that has delighted audiences since its release in 1939. Edmund Golding was instrumental in getting one of the best performances out of Bette Davis. The movie is helped by the fine score of Max Steiner.

As Judith Treherne, Bette Davis shows us why she was a great actress. She does some of her best work in this picture. Her interpretation of the socialite is right on target. Ms. Davis goes from a happy go lucky rich girl into the woman who has to face an imminent death. This film is so enjoyable because of the nuances Ms. Davis brought to the role. Bette Davis' range was enormous.

George Brent, as the medical specialist who tries to help Judith, and falls in love with her in the process, is also quite good as Dr. Steele. Geraldine Fitzgerald is wonderful as Ann, Judith's loyal friend. Humphrey Bogart appears briefly as the horse trainer. Henry Travers put in a small appearance as the doctor who brought Judith into the world, and sadly, is not able to help her much. Also in the cast, Ronald Reagan, who doesn't have much to do.

This is the perfect film to watch the wonderful Bette Davis at her best.

You've been feeling somewhat ill, and just not with it, your vision gets quite blurred, but you admit it, so it's off to see the doc, though you're in for quite a shock, an operation is required to get you fit. You start to mend, but there's something new you feel, seems you've fallen for the man who's made you heal, emotions at a high, but there are things you've been denied, then indiscretion leads you to a big reveal.

There's some racy dialogue to contend with, but the performances of both Bette Davis and George Brent are divine, in what is not your typical boy meets girl story of the time. You also get the added bonus of Humphry Bogart, although his Irish brogue would never earn him any rewards, and a future President provides some small support.

A film of its time but plenty to enjoy still today.

I can just imagine a young Ross Hunter sitting in a darkened movie palace in 1939, basking in the glow of the projector's light , watching DARK VICTORY unfold on the big screen.

This Warner Brothers melodrama , a star vehicle for Bette Davis , no doubt highly influenced the enterprising nineteen year old future film producer who dominated the Nineteen Fifties and Sixties with lavish tearjerkers such as "Magnificent Obsession" and "Imitation of Life", among others.

Movie soap operas have always been a sturdy Hollywood staple. Hugely popular , they have a direct trajectory to audiences' hearts, no matter how illogical and ridiculous the proceedings are. It's not my purpose to denigrate these movies as pure trash ; they are products of their time and serve a definite function as pure escapist entertainment. Many of them are extremely well made and very enjoyable. Some,like DARK VICTORY, give a great star an indelible moment to once again shine in the Hollywood firmament. Those old black and white shadows of a still young Bette Davis gracing the screen show a star at the height of her powers. Was she a great actress? You certainly can't take your eyes off her. That clipped way of talking, the shifting of the eyes, the very determined walk held Davis in good stead for nearly sixty years. She could look beautiful, she could look plain, all in a matter of minutes in the same movie. She smoked a cigarette and held a cocktail as if they were the greatest props ever invented. She infuses this hoary old chestnut with so much conviction that she picks the movie up by its dated bootstraps and commands your attention.

The story of a wealthy heiress of a Long Island thoroughbred farm who discovers she is dying of a brain tumor is chock full of laughable moments. This was not so in 1939 when the film premiered. In hindsight, one can't help but watch this movie with a rueful eye, realizing how much society and culture has changed in over half a century. Some motion pictures remain classics no matter how much time has passed ; this is not one of them. But no matter : when Bette ascends that final staircase accompanied by Max Steiner's angelic choir, you're with her all the way.

In a previous review of a Bette Davis film, I alluded to her amazing range; she can either play the bitch or she can play the martyr. In Dark Victory, she gets to do both. As Judith, she finds out that at the ripe age of 23 and at a very inconvenient time in her social calendar, that she has a fatal brain tumor. George Brent plays the doctor who diagnoses her, and of course, her love interest. Members of a fine supporting cast include a very young Humphrey Bogart, Geraldine Fitzgerald and Ronald Reagan. (Who hilariously plays a social playboy/boozehound.)

This film is definitely a classic, and is a fun one to watch – it's worth it just to watch the scene in the restaurant when Bette orders a `Prognosis Negative' after she finds out that she is dying. Dark Victory is yet another piece of evidence that 1939 was the golden year of cinema.

--Shel

Not only is this sublime classic the greatest tear-jerker of all time (well, let's call it a tie with "Lassie Come Home"), it also contains one of the greatest performances ever given by Bette Davis. In the hands of a lesser actress this movie could have been a soppy pot-boiler. In the hands of Ms Davis it is close to being a masterpiece. If most of the supporting players can't match her it's no wonder - Bette is truly inspired here! The normally fine Geraldine Fitzgerald seems rather self-conscious in a difficult role (and an early one for her), and George Brent can't handle the really emotional stuff. But Bogart is stunning in that sexually charged scene with Bette in the stables. Ronnie doesn't have much to do, but Virginia Brissac is memorable as Martha and Henry Travers terrific as the old doctor.

Above all this is the excellent direction of Edmund Goulding, the fine cinematography of Ernest Haller and the great music of Max Steiner. Sure, dying in real life is never this beautiful, but don't we all wish we could go out with the style that Bette Davis does? Be warned: the last 15 minutes of this film are almost torturously moving - but then ALL of "Lassie Come Home" is. And don't we just love a good cry!