phd12166

100 years after her birth, in 2008, to the credit of the greatest actor of the 20th century, it's impossible to separate the personal empowerment of Bette Davis' viewers from societies becoming more gender & sexually egalitarian.

"Ex-Lady" is the film version of an unperformed (1931) play "Illicit." By 1933, the blatant sexuality of "Ex-Lady" was close to being considered censor-able. Warner Bros'. production explores the subject of open marriage way before it was popular. Brazen director, French Robert Florey accentuates the acute blend of delicious dialog, succinct script, on-point performances & sensual cinematography.

Helen Bauer (Bette Davis at 25yo) is a sexy, fashion illustrator. Don Peterson (Gene Raymond at 22yo) is an advertising executive who's proposed marriage to Helen; but, she initially refuses not wanting to give up her independence. Much to the chagrin of Helen's overly moralistic father, Adolphe Bauer (Alphonso Ethier), the unwed couple is obviously having a live-in sexual relationship. Had this film been released later, these sexual aspects of an unwed relationship would've been censor-able due to the Hayes Code.

What's more, after Miss Bauer eventually becomes Mrs. Peterson, Helen's reluctance to marry comes across like the woman has intuition, when her husband begins a sexual flirtation with the bored, flapper wife, Iris Van Hugh (Claire Dodd), of his alcoholic business rival, Hugo Van Hugh (Frank McHugh). When Helen tries to platonically date a handsome rouge, Nick Malvyn (Monroe Owsley), he unsuccessfully attempts to make an adulteress of her!

Several examples of delightful dialog make my points plain:

Don (Raymond): "I'm just about fed up with sneaking in...let's get married so I'll have the right to be with you." Helen (Davis): "What do you mean 'right'? I don't like the word 'right'." Don: "Let's not quibble about words." Helen: "No, I'm not quibbling, 'right' means something. No one has any 'rights' about me, except me."

Helen soft & sincerely conveys what Bette Davis believed: women are men's equals. Part of the reason such films appeal(ed) to Davis' audiences so much is because she portrays empowered women. Helen 'says without saying' that she has the 'right' not to get married & enjoy her sexuality, too (in 1933!).

When Helen (Davis) says: "I don't want babies," Davis commented later in her life (1971), there'd be fewer divorces if couples didn't marry simply to have sex & babies. If her point, that couples who get married ought to do so because they are very strongly committed to one another, hasn't been socially adopted in the US yet, & couples still wed for moralistic reasons, Davis' Helen conveys a higher moral reason for marriage: a feminist one that holds very heavy weight today, since equality between women & men is all the more prevalent, as this early 20th century dialog reveals:

Don (Raymond): "You're a successful woman; I ought not to like it." Helen (Davis): "You're a pretty successful man; I ought not to like it." Don & Helen simultaneously: "I'm a man!"

As usual, Bette Davis' unique set of physical & verbal expressions convey a woman's power; this time without disempowering her man. This remains her appeal to women & men: as a woman's role model who is eventually actualized & an independent woman who men do love. In this sense, Bette Davis' characters, as role models of empowered women, have far reaching effects upon changing the social status of women to be equal to men and reveals that men do like it.

For me, it's difficult to pick who was the greatest actor of the 20th century: Bette Davis or Barbara Stanwyck? Each had to work harder than men actors to get roles portraying strong women characters; each played so many diverse lead characters they they couldn't be stereotyped into a typical role; each had sensational acting ability; each couldn't be cast as simpleton sexual objects for men to exploit; each was utterly devoted to her acting career for their entire lifetime; each didn't receive nearly enough official recognition by being awarded for outstanding leading and supporting characters; each stoled the shows from great leading actors in nearly every scene they played; each was not what would be called a 'raving beauty', and yet, on film, their spirits brought the beauty forth from within themselves in such a fashion to become gorgeous; each allowed themselves to be cast in highly controversial roles well before the social issues were talked of in their time. Having said all of that, I cast my vote for Bette Davis as the greatest actor of the 20th century.

This biographical documentary of Bette Davis' work and life is revealed quite expertly well through a well balanced mixture of actual film clips from some of Davis' great silver screen performances, television talk-shows when she reveals key intimate details about her life, values, beliefs, and sensibility.

The film biographers of "Stardust..." do a remarkably fine job of selecting clips of Davis' peer commentators who were knew Davis as their friend, mother, acting mentor, neighbor, and a kids-turned-actors who grew up either on stage with Davis or in her home.

This is one of the most well balanced film biographies of an actor that I have viewed (repeatedly). There are historic clips not available (at this time) to the public, included in "Stardust...." This, for a Davis collector, it is a must own, especially in DVD format.

Veteran double-Oscar winner & 10 time nominee, Actor Bette Davis, novelist of "In Cold Blood," Truman Copote, and the 1960's legendary rock band, "Jefferson Airplane," make a splendid combination of guests for Dick Cavett to feast upon as he probed into their private lives.

Having seen the entire show, I am anxious to buy it. Anyone who has a clue to where this one can be purchased, please write me at: phd12166@hotmail.com.

I call this episode of Cavett's one of his classics due to the great combination of guests. The talk show is anything but 'typical' and far exceeds the likes of those put on late night programing in 2008 (at this writing). Obviously, I feel it's worth owning.