‘Dark Victory’ or — Death Becomes Her?
On the face of it, and for the first half hour or so, ‘Dark Victory’ (1939) threatens to come across as an outright emotionally manipulative, schmaltzy, overripe hanky-fest as we observe responsibility-free, party loving, chain-smoking, stinking rich socialite Judith Traherne (Bette Davis) living it up without a care in the world. We’re not quite so carefree, however, because as her privileged watchers we know something Judith doesn’t — that she has a brain tumour in her head and that she could very possibly drop dead at any moment!
Fortunately her condition is spotted and diagnosed by kindly brain researcher Dr. Steele who also falls in love with Judith and her unbridled passion for life (it feels like I’m describing a Mills and Boon novel here). Yet when the operation to remove the growth isn’t completely successful Dr. Steele does what every ethical surgeon would do in his position and that’s to outright lie to his patient so she can fully and freely live her final months in a state of blissful denial until she suddenly, painlessly carks it.
The thing is, though, Judith’s brain might be about to kill her but it’s still sharp and she’s smart so it’s not long before she discovers Dr. Steele’s lies and that’s when the real battle begins. But what battle is being fought here and which are the important one when it comes to living?
The potential danger of ‘Dark Victory’ irretrievably lapsing into cloying sentimentality is as constantly present and worrying as Judith’s condition, so it’s to the film’s immense credit that it not only balances all various emotions with expert skill but also a surprising amount of maturity and clarity. For example — we never once feel sorry or pity for Judith, possibly because Davis plays her with such fiery energy, guts and bravado. This is certainly a woman living life completely on her own terms.
There’s an excellent scene where she goes to visit Michael (Humphrey Bogart), her stable master, for what we suspect could be a piece of thanatos driven nooky but the complexity of the conflicting psychological states, and the way the actors deftly handle them, transforms the scene into something with real depth, dignity and meaning.
Also, the film never shies away from Judith’s predicament and by the time I realised that there weren’t going to be any easy get-outs or solutions I was more relieved ‘Dark Victory’ was taking the braver approach than if it was looking like everything was going to be coming up roses.
Davis is aided by an excellent supporting cast: George Brent is reassuringly dependable as Dr. Steele; Bogart has more of a cameo but a vital one although it is Geraldine Fitzgerald as Judith’s best friend Ann who maybe steals the show. Hell, even Ronald Reagan as that bad as the good-natured, but oblivious, lush Alec.
Assured direction, appealing cinematography and some very nice production design help keep attentions rapt although it is Max Steiner’s sweeping and emotive score that carries so much of the emotional weight and, ultimately, Judith to her bed and the fading of the Obies in her eyes.
This isn’t realism in the slightest but it is touching as hell.
