BEYOND THE FOREST

"What a dump!" Joseph Cotten and Bette Davis

BEYOND THE FOREST (1949). Director: King Vidor. Colorized version.

"You wear that yourself. No dead cat for me -- mink!" -- Rosa to Jenny. 

Rosa Moline (Bette Davis) lives with her doctor husband, Lewis (Joseph Cotten), in the town of Loyalton, Wisconsin. Growing older, Rosa is desperate to find a more exciting life in Chicago with businessman Neil Latimer (David Brian), with whom she is having an affair. However, Rosa's plans are stymied when she runs off to Chicago and discovers that Neil has a new fiancee. But when Neil comes back to Loyalton for a birthday party for his employee Moose (Minor Watson), Rosa realizes that she still has a chance with Neil. But Moose may throw a monkey wrench into her plans ... 

"If I don't get out of this town I'll die!"

Excoriated for years -- even Davis expressed her hatred for the picture -- Beyond the Forest has come in for reassessment and garnered new fans over the years. What the movie has going for it is Davis' vivid performance, solid supporting performances from most of the cast, fast-paced and dramatic direction from King Vidor, an evocative score by Max Steiner that makes adroit use of the song "Chicago" but also has its own compelling themes, and fine cinematography from Robert Burks. While Rosa is not exactly an admirable woman -- she is rather a pathetic figure, in fact -- Davis gets across her utter desperation, especially in a sequence when she stands by her bedroom window with the fiery smelters in the background. "If I don't get out of this town I'll die. If I don't get out of this town I hope I die."

I'm not just any woman -- I'm Rosa Moline!

Ann Doran as a woman with many children has an interesting exchange with Rosa in the post office. Doran expresses sympathy for Rosa, possibly because she herself feels a bit trapped by the small-town life she lives with half a dozen offspring to look after. "This town has been tough on Rosa," she says, to which a neighbor replies, "Rosa's been tough on the town." Vidor peppers the film with other interesting vignettes as the movie unfolds, a murder occurs, along with a decidedly unwanted pregnancy. Rosa's husband is a perfectly nice man, but he can't give Rosa what she needs and is terrible unexciting. You sense if he slapped her around she would respect him more (or kill him). 

Davis with David Brian

Dona Drake (of Kansas City Confidential)   certainly makes an impression as Jenny, the slovenly, funny maid who works for the Molines and exchanges comical barbs with Rosa, reminding her that if she fires her she, Rosa, will have to do the work. Drake also figures in the bravura climax to the picture, when a fever-wracked Rosa makes up her mind to get to the train to Chicago come Hell or high water. There's an operatic intensity to this sequence as Rosa determinedly if on unsteady legs makes her way to the train station where she meets her ultimate fate. 

Verdict: Think what you will of this, Davis saunters through this saucy film noir, a variation of Madame Bovary, with aplomb. ***. 

LET'S FACE IT

Zasu Pitts, Eve Arden, and Phyllis Povah

LET'S FACE IT (1943). Director: Sidney Lanfield.

"When we were first married he could lull me to sleep with his tuba." -- Zasu Pitts

"Now he can't even lift it." -- Eve Arden

Private Jerry Walker (Bob Hope) secretly sells food to some of the larger, starving ladies at the fat farm run by his fiancee, Winnie (Betty Hutton). Along come three middle-aged ladies -- played by Eve Arden [Three Husbands], Zasu Pitts and Phyllis Povah -- whose husbands have bundled them off to the fat farm while they go fishing. These women are convinced their husbands are secretly meeting honeys at a summer lodge, so they inveigle three soldiers into coming to the lodge to make their men jealous. Jerry desperately needs money so he agrees to go but he drags along two buddies -- neither actor makes much of an impression -- because he insists that the ladies "look like Veronica Lake, with two eyes!" Let's Face It has some cute moments, good lines and performances, but it runs out of plot around halfway through. The songs are forgettable, even if they are by Cole Porter, though there are two excellent dance numbers: Bob and his pals do a very cute shuffle; and a bizarre, violent dance act in which the couple seem to be illustrating the battle of the sexes. The script is kind of rough on women who have the misfortune not to be young and beautiful, and it's full of what you might call "fat abuse." What's ironic is that Hope and his buddies act as if the three ladies are so hideous, even Arden, when they are not exactly prizes themselves. Hutton gets one especially horrible song number and sings it horribly. Joe Sawyer [Roses are Red] is swell as Jerry's gruff sergeant and Hope's gal pal Dona Drake [Valentino] has a small role.

Verdicts: Some funny moments to be sure but not the hilarity you're hoping for. **.

ANOTHER PART OF THE FOREST

Ann Blythe, Edmund O'Brien and Fredric March

ANOTHER PART OF THE FOREST (1948). Director: Michael Gordon. From the stage play by Lillian Hellman,.

"I don't like you, Ben. I don't like any of my children. I just feel sorry for you." -- Lavinia Hubbard.

In this prequel to The Little Foxes set in the post-Civil War period, war profiteer Marcus Hubbard (Fredric March) is father of young Regina (Ann Blyth), who has set her cap for John Bagtry (John Dall); Oscar (Dan Duryea), who is basically a screw-up; and Ben (Edmond O'Brien), who is of the same diabolical mind-set as his father. The story begins on Confederate Day, when the town remembers the slaughter of many rebel soldiers because an unknown person sold them out [it seems hard to believe that the entire town wouldn't know right away who the traitor was]. Oscar has fallen for Laurette (Dona Drake of Beyond the Forest), a woman from the wrong side of the tracks, and things are quite unpleasant when she meets his father at a party at the Hubbards. Birdie Bagtry (Betsy Blair of The Snake Pit) hopes to get a very important loan from Marcus, a situation that Ben hopes to take distinct advantage of. In the meantime, the tired matriarch, Lavinia Hubbard (Florence Eldridge), reminds her husband that she still remembers where the bodies are buried ... William Wyler could have probably made this a more powerful and memorable movie, but as it is it features some fine acting, especially from Duryea, Eldridge, Blair and Drake. March is good but seems to lose his footing toward the end; it's not one of his best performances in any case. Some great dialogue throughout. Eldridge, who was married to March in real life, also played his wife in Inherit the Wind and other movies.

Verdict: Portrait of a fairly appalling family. ***.

BEYOND THE FOREST

Rosa and the saw mill: "If I don't get out of here I'll die."

BEYOND THE FOREST (1949). Director: King Vidor.

"There's only one person in this town who does anyone a real favor. That's the undertaker -- carries them out." -- Rosa Moline.

"No more dead cat for me! Mink!" -- ditto.

NOTE: Some plot points are given away in this review. Based on a novel by Stuart Engstrand, this vivid melodrama, a kind of poor man's Madame Bovary, has always polarized Davis fans and general movie-goers alike. Davis plays Rosa Moline, a self-absorbed, aging woman in the small town of Loyalton, Wisconsin, which has one industry -- a sawmill constantly issuing smoke and stench -- and one doctor, Rosa's gentle husband, Louis (Joseph Cotten). Bored Rosa, who wants much more out of life than Louis can give her, is having an affair with wealthy businessman Neil Latimer (David Brian of The Damned Don't Cry). Things run hot and cold with Rosa and Latimer for some time, but just when things look perfect Rosa is confronted by Latimer's caretaker, Moose (Minor Watson), who threatens to divulge information to his boss that will utterly ruin things for Rosa. Before she knows it, Rosa is put on trial for murder ...

Hardly anybody, including me, likes Beyond the Forest the first time they see it, perhaps because Davis and the movie seem overblown and slightly grotesque, but the damn thing grows on you and actually has quite a bit going for it. First there's Vidor's direction, which makes the most of Rosa's claustrophobia and frustration, and pulls the viewer along from the very first moment until the highly dramatic climax. Davis has been criticized for supposedly playing a teenager when she was in her forties, but nowhere is it said in the film that Rosa is that young, and one can't assume she is just because the character was younger in the novel. [The characters in the novel "The Postman Always Rings Twice" may have been teenagers or at least very young, but no one has suggested that Turner and Garfield were playing teens in the movie.] Davis comes off like the middle-aged woman whose opportunities are running out just as time is, and who does her best to look and act much younger, and her performance, despite some odd moments perhaps, is vital and effective. Robert Burks' photography makes the most of the bucolic locations and grim situations. Max Steiner's snappy and attractive score was nominated for an Oscar.

Rosa's dilemma is that she fancies herself a non-conformist, different from and superior to the other townspeople, but she hasn't the gifts that would enable her to get away without latching on to some man. The odd thing about Beyond the Forest is that while it's hard to like Rosa, you can't help but find yourself sympathizing with this somewhat sociopathic female who just has to get to Chicago or die [and this has much to do with Davis' performance]. The ending, in which a feverish, dying Rosa literally drags herself inch by inch and step by step to the train station, is not only operatic, but extremely well-handled by Vidor, superbly acted by Davis, and whatever else you think of the film, is just plain good movie-making. The stylized scene when Rosa gets lost in the big city and encounters weird characters is a bit problematic, but sort of works anyway.

Joseph Cotten (Shadow of a Doubt) perhaps makes Louis even more placid than he needs to be. [Some people writing about this movie don't seem to get that it doesn't matter if Louis is "nice" and "pleasant" and forgiving and so on. To Rosa his placidity is deadly.] Dona Drake (Valentino) is excellent as the Native American maid who is so mistreated by Rosa but gives as good as she gets. Minor Watson, a fine actor, played a very different role from Moose, a studio executive, in his next film with Davis, The Star, and is equally convincing in both pictures. Ruth Roman (Invitation) is lovely as Moose's daughter; Davis has a fine moment putting on Roman's mink and looking at herself in the mirror. David Brian is probably the weakest of the cast members, but he's perfectly competent as the rugged Latimer, who's used to getting what he wants, including Rosa. The ubiquitous Ann Doran is one of Loyalton's disapproving [of Rosa] housewives.

Verdict: Love it or hate it, it plays. ***.

VALENTINO (1951)

VALENTINO (1951). Director: Lewis Allen.

Mostly fictionalized biography of the great silent star Rudolph Valentino, played here by Anthony Dexter, who looks quite a bit like Rudy and gives an excellent performance as well. Valentino meets famous actress Joan Carlisle (Eleanor Parker) and through her and her director Bill King (Richard Carlson) finds himself in the movies. [Carlisle and King are supposed to be director Rex Ingram and his actress wife Alice Terry, who appeared on-screen with Valentino.] Valentino romances several ladies, including Joan, who's reluctant to get involved with the Latin lover boy because he has serious commitment problems. Instead Joan marries King, and finds herself in an uncomfortable position when she's teamed with Rudy, whom she's still attracted to, in a movie. By focusing on this triangle, the movie completely avoids all the true drama of the essentially homosexual Valentino's life and career and becomes a little tedious. The production isn't first-rate, either. The capable supporting cast includes Lloyd Gough as a nosy reporter Eddie, Otto Kruger as a producer, Patricia Medina as an actress Valentino nearly marries, and Dona Drake in another fiery role as Valentino's dance partner, boss, and lover early in the picture. [Drake was memorable as Bette Davis' slovenly maid in Beyond the Forest.]

Because Valentino wasn't successful despite his fine performance, Anthony Dexter later wound up in such films as Fire Maidens of Outer Space.

Verdict: A bit colorful but not enough. **.

For the real story of Valentino's life, click here to read an article by Lawrence J. Quirk and to see many photos of Valentino and his films.