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!

In the past year I've been making an effort to see as many Academy Award-nominated movies as possible, minus a few that don't look interesting. The latest that I've seen is Edmund Goulding's "Dark Victory". I don't know whether or not this was the first movie to focus on medical malpractice, but it's worth seeing nonetheless. Bette Davis plays a socialite who has a malignant tumor removed, except that not all of it can get removed. The doctor decides that he wants her to be happy, and so he doesn't tell her about this.Much of the story seemed hackneyed, but Davis's performance carried the entire movie. Also of note are early appearances of Humphrey Bogart, Geraldine Fitzgerald and Ronald Reagan. But what's probably most important is that they did not give it the typical Hollywood ending. Despite its flaws, the movie works out well overall. Not that I would expect less of Bette Davis. I recommend it.

The stage play seems to be the equivalent of a pulp magazine romance – and this movie is very, very much a filmed stage play. Unfortunately, it's overloaded with uninteresting characters and tedious dialogue. The best we can say of Edmund Goulding's direction, is that it's boringly routine. The acting is none too good either. Miss Davis runs through the full gamut of her mannerisms. Brent is stiff as a poker. And Humphrey Bogart remembers halfway through the film that he's supposed to be Irish – not that it matters much, as his role is disappointingly small anyway. Davis admirers please take note that she is neither costumed nor photographed to her advantage. Finally, to throw a bit more icing off the cake, Max Steiner's music score is one of his least memorable.

Long Island heiress Bette Davis (as Judith Traherne) suffers from headaches and vision problems, but doesn't want her partying, socialite lifestyle hampered by doctor's visits. However, after falling off her horse and down the stairway, Ms. Davis' family physician arranges for her to visit brain specialist George Brent (as Frederick Steele). Her self-described "reasonable quantity" of tobacco and alcohol does not seem to be a factor in Davis' declining health. Dr. Brent finds Davis in dire straits and operates on her brain almost immediately. The two fall in love, also...Davis seems to recover, but finds a file describing her condition as "prognosis negative." She asks, "What does prognosis mean?" and "What does negative mean?" Really...This film confirmed Davis as a box office favorite; she was listed in the annual top ten "Quigley Poll" for the first time, in sixth place. Davis' performance was in the running for year's best, behind "Academy Award" winner Vivien Leigh ("Gone with the Wind") and "New York Film Critics" runner-up Greta Garbo ("Ninotchka"). "Dark Victory" is a marvelous movie star performance vehicle, but less of a film. Davis receives great support from Brent and especially Geraldine Fitzgerald (as Ann King). Irish-accented Humphrey Bogart (as Michael O'Leary) is amusing.******** Dark Victory (4/20/39) Edmund Goulding ~ Bette Davis, George Brent, Geraldine Fitzgerald, Humphrey Bogart