One of the most boring movies I've seen with Bette Davis. Complete lack of characterization. Don't fall for the William Wyler hype machine, this one's a dud.

Director: WILLIAM WYLER. Screenplay: Clements Ripley & Abem Finkel, and John Huston. Adaptation: Robert Buckner. Based on the 1935 Broadway stage play by Owen Davis, Sr. Photography: Ernest Haller. Camera operator: Al Roberts. Assistant camera operator: Bud Weiler. Film editor: Warren Low. Music: Max Steiner. Songs: "Jezebel" by Harry Warren (music) and Johnny Mercer (lyrics); "Raise a Ruckus" by Harry Warren (music) and Al Dubin (lyrics). Music director: Leo F. Forbstein. Art director: Robert Haas. Costumes: Orry-Kelly. Technical adviser: Dalton S. Reymond. Stills cameraman: Mack Elliott. 2nd unit director: John Huston. 2nd assistant director: Arthur Lueker. Assistant director: Robert Ross. Sound recording: Robert B. Lee. Associate producer: Henry Blanke. Production manager: Tenny Wright. Producer: Hal B. Wallis. Executive producer: Jack L. Warner.Copyright 26 January 1938 by Warner Bros. Pictures, Inc. New York opening at the Radio City Music Hall, 10 March 1938 (ran 2 weeks). U.S. release: 26 March 1938. Australian release: 21 July 1938. 12 reels. 103 minutes.SYNOPSIS: Southern belle scandalizes the Old South by wearing a red strapless gown to a black-and-white ball.NOTES: Academy Award, Best Actress, Bette Davis (defeating Fay Bainter in White Banners, Wendy Hiller in Pygmalion, Norma Shearer in Marie Antoinette and Margaret Sullavan in Three Comrades). Academy Award, Best Supporting Actress, Fay Bainter (defeating Beulah Bondi in Of Human Hearts, Billie Burke in Merrily We Live, Spring Byington in You Can't Take It With You and Miliza Korjus in The Great Waltz).Also nominated for Best Picture (You Can't Take It With You), Cinematography (The Great Waltz) and Best Music Score (Alexander's Ragtime Band).Negative cost: around $1 million. Shooting commenced 18 October 1937 and finished 18 January 1938. — 42 days over schedule. (Wyler's mania for perfection — his insistence on endless takes — was blamed for the run-over).The stage play, produced by Katharine Cornell and Guthrie McClintic opened on Broadway at the Barrymore on 19 December 1933 and ran only 32 performances. It starred Miriam Hopkins and Joseph Cotten, and featured Cora Witherspoon as Aunt Belle.COMMENT: A lavish costume melodrama designed by its creators and players as a try-out for their employment (they hoped) on Gone With the Wind. As it happened, however, only composer Max Steiner reached that goal, although Jezebel is not only excellent entertainment but excels in every aspect of its production: flawless acting dominated by the driving portrayal of Bette Davis as the self-willed Julie; gorgeous costumes and no-expense-spared sets with hundreds of extras impressively regimented in spectacular crowd scenes — Wyler successfully showing off his mastery of both action and intimate, soul-baring emotional scenes. The film's only weakness is its facile soap opera script — high class soap opera, but still, for all its impeccable staging, as sudsy as a Hollywood bubble-bath.

Jezebel l watched for first time was in the early 80' and some years ago l purchase a copy with classic dubbed version,so today l revisited this good picture that was the response of Warner to MGM's Gone with Wind but the story isn't quite good...but Bette is fantastic and evil better than never and together with Henry Fonda hold the picture,another acting that deserve to be nominated is George Brent as ruthless man and Fay Bainter who won the Oscar as supporting role,l really liked this picture to exhibit the difference of thought between north and south on a period pre war!!!

What a great movie. This movie is far superior to that other movie about the antebellum South that gets so much attention today. This movie contains all the elements that makes it great cinema: a coherent, plausible plot; excellent background music; excellent treatment of social and political themes; and most of all, powerful acting. Taking This is Bette Davis's greatest performance. She captures the essence of the vain, spoiled Southern belle of the antebellum era. She projects a haughtiness that belies the character's underlying insecurity. The moral, political and ethical conflicts in the story are presented honestly and forthrightly. The title of this movie befits the story. The performances of the rest of the cast are also noteworthy, especially Henry Fonda's, who is perfect as Davis's love interest and foil. William Wyler's direction is flawless; the cinematography is exquisite, and the nature of the story profound. This movie represents the quintessential example of cinematic art at its best.