Themes: Crumbling Marriages, Self-Destructive Romance, All Washed Up
Main Cast: Bette Davis, Franchot Tone, Margaret Lindsay, Alison Skipworth, John Eldredge
Release Year: 1935
Country: US
Run Time: 72 minutes
Plot
Not even considered a good film back in 1935, Dangerous is held together by the mesmerizing performance of Bette Davis. The star is cast as alcoholic, self-destructive stage actress Joyce Heath, a character obviously based on Jeanne Eagels. Wealthy architect Don Bellows (Franchot Tone) becomes convinced that Joyce can be rehabilitated with the "right" stage vehicle, and begins pulling strings to bring her back to the footlights. She rises to the occasion, falling in love with Don in the process. But Joyce becomes convinced that she's a jinx to any man who gets near her, as proven by her spineless, dissolute husband, Gordon Heath (John Eldredge), who refuses to give her a divorce. Deliberately hurting Don's feelings so he will escape her "curse," Joyce determines to rid the world of both herself and her husband. But things don't work out that way, and as a result Joyce is left in an inextricable Ethan Frome-like dilemma at film's end, while Don finds happiness with his socialite Gail Armitage (Margaret Lindsay). It is generally conceded that Bette Davis won her Academy Award for Dangerous because she was denied the Oscar for her performance in the previous season's Of Human Bondage. Dangerous was remade (and considerably reshaped) in 1941 as Singapore Woman. ~ Hal Erickson, All Movie Guide
Review
Bette Davis' Oscar for Dangerous may have been a consolation prize for not winning (or even being nominated for) her breakthrough performance in Of Human Bondage the previous year, but that doesn't change the fact that her Dangerous work is stunning. Indeed, in some ways, modern audiences may find it preferable to her Bondage performance, which comes across as powerful but a bit forced. Davis is in more control in Dangerous, more natural and at ease, even though she is no less powerful. Indeed, those legendary eyes flash burning, scorching fire at the slightest provocation -- and, of course, can turn glacially icy or meltingly seductive a moment later. Dangerous is only a so-so movie, but Joyce Heath is a great part; it's no Hedda or Lady MacBeth, but it provides Davis with ample opportunity to show just what she is made of, and she makes sure she doesn't squander one second of this opportunity. Against this force of nature, it's amazing that Franchot Tone not only holds his own but is able to make a favorable impression -- a fact made even more notable considering the indifference with which his part is written. Alison Skipworth also scores points, playing a character that's much more "above board" than her usual somewhat shady characters. Still, it's Davis' show all the way -- and she makes it well worth watching. ~ Craig Butler, All Movie Guide
Hugh Reticker, Jr. - Art Director, Orry-Kelly - Costume Designer, Alfred E. Green - Director, Tom Richards - Editor, Leo F. Forbstein - Composer (Music Score), Bernhard Kaun - Composer (Music Score), Leo F. Forbstein - Musical Direction/Supervision, Ernest Haller - Cinematographer, Harry Joe Brown - Producer, Laird Doyle - Screenwriter
Don Bellows, a prominent New Yorkarchitect, is engaged to the beautiful and wealthy Gail Armitage when he meets down-and-out Joyce Heath, who was once the most promising young actress on Broadway. Don feels deeply indebted to Joyce because her performance as Juliet inspired him to become an architect.
While rehabilitating her, Don falls in love with the tempestuous actress. Joyce, convinced she destroys anything and anyone she touches, warns him she is a jinx. Compelled to save her, Don breaks his engagement to Gail and risks his fortune to back the actress in a Broadway show. Before opening night, he insists they marry, but Joyce resists his proposal, hiding the fact she is married to Gordon Heath, an ineffectual but devoted man who was financially ruined by their marriage.
Joyce goes to Gordon and begs him for a divorce. When he refuses, she causes an automobile accident that cripples him for life. Her own injuries keep her from opening in the show, which fails. Don is ruined, and when he learns that Joyce has deceived him, he accuses her of being a completely selfish woman, her only true jinx.
Joyce briefly considers suicide, but eventually sees the truth in Don's accusation. She re-opens the show and, although she truly loves Don, sends him away to marry Gail. The show is a success, and Joyce, now dedicated to a responsible life, goes to visit Gordon and salvage her marriage.
Production notes
Bette Davis initially turned down the script, but Warner Bros. studio production chief Hal B. Wallis convinced her she could make something special out of the character, who had been inspired by one of Davis' idols, actress Jeanne Eagels. [1] She was determined to look like an actress on the skids, and insisted Orry-Kelly design costumes appropriate for a woman who had seen better days. It was for this film Perc Westmore styled her hair in the bob cut she would favor for the rest of her life. [2]
Franchot Tone, who recently had completed Mutiny on the Bounty, was borrowed from Metro-Goldwyn-Mayer to bolster Davis' marquee value. Davis was immediately drawn to the actor, who was engaged to Joan Crawford at the time. Producer Harry Joe Brown later revealed he had walked in on Davis and Tone in a compromising position. Crawford apparently knew about the liaison, but didn't break the engagement. Most biographers believe this was the start of the alleged feud between the two actresses. [1]
Three songs by Harry Warren - "Forty-Second Street," "The Little Things You Used to Do," and "Sweet and Slow" - are heard on the soundtrack.
In 1941, the film was remade as Singapore Woman with Brenda Marshall in the lead role. It coincidentally utilized some of the sets from the The Letter, the 1939 film starring Davis. [3]
The New York Times said, "That Bette Davis has been unable to match the grim standard she set as Mildred in Of Human Bondage is not to her discredit. In Dangerous, she tries again. Except for a few sequences where the tension is convincing as well as deadly she fails . . . Say this for Miss Davis: she seldom lets down." [5]
Variety said, "Laird's dialog is adult, intelligent and has a rhythmic beat. Davis' performance is fine on the whole, despite a few imperfect moments. When called upon to reach an intense dramatic pitch without hysterics, Davis is capable of turning the trick. Yet there are moments in Dangerous when a lighter acting mood would be opportune." [6]
