Alicia I love this movie so much

2hotFeature one of my absolute favorites!

SpecialsTarget Disturbing yet enthralling

Matrixiole Simple and well acted, it has tension enough to knot the stomach.

Hitchcoc Much has been written about Bette Davis's performance in this film. Apparently, she thought she would get the role of Scarlett O'Hara in "Gone with the Wind." It didn't work out so she was tossed the role of Julie in "Jezebel." She made due to the hilt. She plays an ambitious woman who feels she can dominate any situation and get what she wants from any man. She is engaged to Henry Fonda who forces her to show her true colors (in the form of a red dress that embarrasses her publicly). Fonda's character cuts her loose and she goes about trying to win him back. She can be compared easily to Scarlett because she seemed to be sort of a Teflon character herself. The ending is quite good as redemption is at stake in the worst of situations. Davis's performance really stands atop the mountain.

Dunham16 The setting is New Orleans a decade before the outbreak of the civil war. Fay Bainter, Spring Byington, George Brent and Donald Crisp are stars today familiar playing generic southern gentlefolk. Bette Davis and Henry Fonda are the rebels of the Owen Davis play playing rebellious southern gentlefolk. Bette's Julie Marsden never at any time dresses or thinks or talks like a southern belle. Henry's Preston Dillon never at any time takes the mindset of a southern gent trying to keep the old ways in the face of commerce now favoring businesses in the north. Comlpeting this stunning, fascinating and brilliant portrait of the antebellum south are some of the finest tableaux in movie history of the period among them an excellent portrayal of a yellow fever epidemic and a stilted, possibly no longer universally culturally acceptable view of plantation house and field slaves content with their miserable lot. In terms of movie making the central issue advancing the cause of performers is the extraordinary contract of Henry Fonda apparently the first to release him on the date he agreed to sign to be home for the birth of Jane Fonda not remaining on the shoot until director William Wyler wrapped it. Not a general cup of tea for every audience today yet one of the most fascinating visually and dialogue wise, theme wise and plot wise Hollywood movies of all time.

gavin6942 A haughty headstrong Southern Belle (Bette Davis) in Antebellum Louisiana loses her fiancé due to her stubborn vanity and pride and vows to get him back.The Turner Classic Movies Database states that the film was offered as compensation for Bette Davis after she failed to win the part of Scarlett O'Hara in Gone with the Wind. Despite a radio poll showing Bette Davis the audience favorite for the role, Selznick never seriously considered her for it. Though her portrait of the malicious Mildred in Of Human Bondage (1934) had made her a star, this film garnered the Best Actress Oscar many felt she deserved then, and established her as a leading lady from that point on.Indeed, this was a great role for Davis, and she probably would have been impressive in "Gone With the Wind". Her career as a whole is quite odd. She had a promising beginning, and then grew sort of funny-looking as she aged. And yet, she kept getting big roles (even if the movies got stranger and more horror-oriented). Davis is interesting in that way... Hollywood allegedly rejects women as they age, but Davis was embraced.

TheLittleSongbird The main point of interest in Jezebel is that it's the film that garnered Bette Davis her second Oscar. Her performance is also the best thing about the film, although Jezebel still has more to it than Davis' performance.Davis is superb here in a performance that ranks among her best as one of her most flawed but truly fascinating characters. Personally would have given her two Oscars (or at least two more than what she got) for her performances in Now Voyager and All About Eve but cannot deny that she commands the screen superbly, brings complete, blistering conviction to her lines and she is also at her most luminous. She is supported by an excellent cast, with the standouts being the compassionate also Oscar-winning turn of Fay Bainter, who provides the film's moral compass in a way, the always great Donald Crisp who is suitably humble and George Brent in the honourable but also arrogant sort of role. Spring Byinton similarly excels, and Richard Cromwell and Margaret Lindsay make the most of their secondary roles.Jezebel does have more to it than great performances though. It is brilliantly directed by William Wyler, who not only immerses one into the setting but makes one feel like they're part of it. It's also beautifully shot in sumptuous black and white and the 1870s Southern setting is evoked very authentically and elegantly (who can't help love the gowns?). Max Steiner's music score is gloriously romantic and spirit-rousing, while the script is thoughtful, poignant and crackles with fiery tension and the story is completely absorbing in how it's told and how well done the atmosphere is. The characters are all well-written and with remarkable realism, they are flawed characters but with a number of good traits.My only complaints with Jezebel are the ending, which felt out of character and too ambiguously resolved, and a wooden Henry Fonda in a role that was in need of a more formidable touch. Otherwise, it is a very good film indeed that had all the ingredients to be even greater. 8/10 Bethany Cox