Another plenary victory in Ms. Davis' bang-up repertoire, DARK VICTORY, her tear-jerking star-vehicle directed by a nimble-handed Edmund Goulding (commendably downplays the story's stagy vibes), strikes as an elemental force of itself which poignantly probes the doleful subject of how to face death on one's own terms when there is not much time left. Davis plays a young, free-spirited New York socialite Judith Traherne, who has been assailed by headaches for months until her vision is also impaired, after the check-up of Dr. Steele (Brent), an operation is exercised to remove the tumor in her brain, but it is the "prognosis negative" result that sounds the death knell to her, merely 23 years old, she has only less than one year to live, before blindness and then quietus catches on with her sequentially. What the narrative makes great play of is a one-two step of secrecy-keeping decision, starting with Dr. Steele, whose growing affection of Judith convinces him that he should keep a lid on the bad tidings so that a newborn Judith would at least enjoy the most of her precious remaining time, then, as a maladroit liar, he is blindsided by a perceptive Ann (a stalwart Fitzgerald credibly actualizing her dramatic chops), Judith's bestie-cum-secretary, to whom he lets on the truth and finds himself a partner-in-crime in contiguity with Judith, the latter eventually alights on the hammer blow that cruelly dashes her high-spirited prospect of a new lease on life (including marrying Steele and starting their nuptial life in Vermont), and reverts to her carpe diem intemperance and horse-riding, only to be struck by an epiphany when she frolics with her stable hand Michael O'Leary (Bogart, still paying his dues in subservient roles, but manages to seal a kiss with his leading lady, a boon is not bestowed to Brent, who was in fact engaging an affair with Davis at then), ergo, a right decision takes her on the right track and finally, she finds courage and peace towards her imminent fate, with dignity intact and its fallout minimized to the one she loves, which constitutes the second keeping-mum plot device that amply builds up the climax. It is one of Davis' most spellbinding performance which potently attests her sweeping acting mutability, in the beginning, she is a defensive self-denier, more or less congruent with her sharp-tongued, faintly priggish persona, but not exactly descends into an overbearing prima donna, in no time, her defense is thwarted by Dr. Steele's suave solicitation, yet, what really hits the mark is during those tender moments, where her facet of repentance and earnestness overtakes the screen as we are compelled to invest our empathy to a young woman whose entitlement of living being unfairly cut short, still, she is able to come to terms with it in the most affective fashion that categorically elevates the film above the not so uncharacteristic sugar-the-pill treatment, which the Hollywood assembly line habitually implements on its unsavory subject matter, that is what one calls a legitimately tickets-selling one-woman-show!

Judith, played by Bette Davis to the absolute hilt (and I mean that in the most positive way) begins to experience headaches and blurred vision. She is having trouble doing things because her balance is off. George Brent plays a doctor who loves her, and puts his career on hold in hopes of helping her. Brain surgery is performed, but as is often the case, not all of the cancerous tissue can be removed without killing her. She is doomed to blindness and death. He, however, feels that she should not be told, so she can continue life in a positive and optimistic way. Dishonesty is not in her vocabulary and when she finds out, she resents what he has done, greatly. Humphrey Bogart works her horses (she is very rich) and admits that he has loved her forever. Unfortunately, we are talking about two different classes of people. Shouldn't be, but is. The conclusion is quite sad, but she is given the gift of knowing her fate.

This was one of Bette Davis' most famous performances, although she made many and all were outstanding. Still, this one stands out from the others as exceptionally personal in a way that she never again quite found an opportunity to bring out. Helping her in this were all the ingredients, a fantastic script, a great score by Max Steiner, her cavaliers George Brent, Humphrey Bogart and Ronald Reagan (always drunk and silly, he is the only one in the film to get socked,) and Geraldine Fitzgerald as the most important supporting actress with her display of a high level of sensitivity. This is a film that never will age, anyone can learn much of it in whatever age, for its vital argument about death and life. while at the same time it's a major lesson in empathy. This is brought out in them all, George Brent as her doctor of great psychological insight, Humphrey Bogart as the faithful stable groom, (the most intense love scene is actually in the stables between him and Bette,) and perhaps most of all in Geraldine Fitzgerald as her closest friend.But Bette Davis is the marvel above all. Her acting is almost excruciatingly truthful in her more than convincing way of taking on her destiny. It's interesting to compare this film with the almost contemporary "The Light that Failed" with Ronald Colman as an artist going blind, that is more tragic, while Bette Davis actually makes a glorious victory of her fate.

Plot: Davis is diagnosed with terminal brain cancer and has to come to terms with it, as well managing amorous advances from various quarters.A mixed bag, saved by the jittery brilliance of Bette Davis and solid performances from some of the supporting cast. Geraldine Fitzgerald as Davis's best friend stands out, and Humphrey Bogart, in a relatively minor role, steals almost every scene he appears in, in spite of an appalling attempted Irish accent.Geraldine Fitzgeralds's other big role was opposite Laurence Olivier in Wuthering Heights (also 1939), and she continued appearing in various supporting or minor roles into her eighties. She died in 1991. Like Ronald Regan, who pops up occasionally as a permanently intoxicated barfly, she developed dementia, so this adds an ironic poignancy to the movie.Aside from that, it's a curious mixture of wooden performances (including Davis's movie and real life beau, George Brent), wobbly backdrops and historical curiosity, with lighted cigarettes everywhere, even in the hospital wards. This was a decade and a half before the founding of the Actors Studio. Mannered, classical acting prevails, making the naturalistic talents of Bogart and Fitzgerald stand out even more. Bette Davis sits somewhere in the middle of these values in this movie, a combination of studio system old hat and raw ability. I initially scored this movie low, but both the performances and themes stayed in my mind – the sign of a good movie, I think – which bumped it up a notch.