Rating: 
Summary: Bette's "gone with the wind"
Review: Jezebel is really Bette davis' gone with the wind, and i loved every minute of it. It got me really wondering how "gwtw" would have looked like with miss Davis in the leading part! I too would love to see a colour version of this one. I 'm not sure people always remember what a treasure Bette Davis was; just take a good look!
Rating:
Summary: A classic despite everything
Review: JEZEBEL was one of Bette Davis' most accomplished and memorable screen performances of the 1930s. It deservedly netted her an Academy Award as Best Actress and also garnered the Best Supporting Actress award for Fay Bainter.When Bette Davis missed out on the role of Scarlett O'Hara in GONE WITH THE WIND, Warners fashioned their own Southern drama for her, based on the play by Owen Davis. JEZEBEL was released a year before GONE WITH THE WIND. Both films feature musical scores written by Max Steiner. The story concerns willfull Southern belle Julie Marston (Bette Davis) who is engaged to the handsome but conservative Pres Dillard (Henry Fonda). In order to get some life out of her passive finance, Julie decides to wear a dramatic red dress to the annual Ball (when every girl will be wearing traditional white). After her shocking entrance at the ball, Pres insults her by whirling her around and around the dancefloor, until she is the scandal of all New Orleans. The following day, the engagement is called off and the shattered Julie doesn't hear from Pres for a whole year. When Pres does return, its revealed that he has married a beautiful "Yankee" society belle named Amy (Margaret Lindsay). The repentent yet vengeful Julie tries to steal Pres for herself again, but when the dreaded Yellow Fever epidemic strikes, tragedy does as well... The cast also includes George Brent (42nd STREET), Donald Crisp (POLLYANNA, NATIONAL VELVET), Richard Cromwell, Henry O'Neill, Spring Byington and John Litel. The DVD includes the trailer. (Single-sided, single-layer disc).
Rating: 
Summary: Bette Davis in a searing performance
Review: JEZEBEL was one of Bette Davis' most accomplished and memorable screen performances of the 1930s. It deservedly netted her an Academy Award as Best Actress and also garnered the Best Supporting Actress award for Fay Bainter. When Bette Davis missed out on the role of Scarlett O'Hara in GONE WITH THE WIND, Warners fashioned their own Southern drama for her, based on the play by Owen Davis. JEZEBEL was released a year before GONE WITH THE WIND. Both films feature musical scores written by Max Steiner. The story concerns willfull Southern belle Julie Marston (Bette Davis) who is engaged to the handsome but conservative Pres Dillard (Henry Fonda). In order to get some life out of her passive finance, Julie decides to wear a dramatic red dress to the annual Ball (when every girl will be wearing traditional white). After her shocking entrance at the ball, Pres insults her by whirling her around and around the dancefloor, until she is the scandal of all New Orleans. The following day, the engagement is called off and the shattered Julie doesn't hear from Pres for a whole year. When Pres does return, its revealed that he has married a beautiful "Yankee" society belle named Amy (Margaret Lindsay). The repentent yet vengeful Julie tries to steal Pres for herself again, but when the dreaded Yellow Fever epidemic strikes, tragedy does as well... The cast also includes George Brent (42nd STREET), Donald Crisp (POLLYANNA, NATIONAL VELVET), Richard Cromwell, Henry O'Neill, Spring Byington and John Litel. The DVD includes the trailer. (Single-sided, single-layer disc).
Rating:
Summary: Oscar-Winning, Oscar-Deserving. Excellent.
Review: Poor Jack Warner. Imagine having to be the man who denied Bette Davis the role of Scarlett O' Hara. Imagine Bette's rage at the success of that particular picture. Imagine poor Jack's mind working nineteen tot he dozen, desperately searching for something, ANYTHING, to appease the wrath of The Davis. Happily, Jack Warner came up with this: a 1938 movie about a spoilt southern Belle whose willful machinations eventually lose her the man whom she truly adores. In my opinion, this is quite possibly Bette Davis' best ever moment in motion pictures. As Jezebel, she is old enough and established as an actress to bring real depth and credibility to the role, while being young enough so as not have established the Davis Trademarks to demean the role with. Playing the part of Julie Marsden, the titular Jezebel, Davis displays a rare understated pathos and a real sense of connection to her role. As with Regina Giddens in 'The Little Foxes', Bette's mastery of her craft is best displayed in the role of Julie. She is an emotional powerhouse, and the 'Let's raise a Ruckus' scene, as well as the final scenes of the picture, showcase that Oscar-winning mastery beautifully. Henry Fonda is totally acceptable as the henpecked, hapless Preston Dillard, and in places gives a performance to match Bette's own. Other impressive supporting cast turns come in the shape of Margaret Lindsay as Yankee interloper Amy Bradford Dillard and the always-excellent Fay Bainter as Aunt Belle Massey. Direction for the period is superior, too. Paced perfectly and beautifully photographed, William Wyler (whose talent is surely the only one to rival Joe L. Manckewiecz) has created a visual backdrop of opposite poles of emotion - the hubbub of city life, the quiet languor of plantation, and the terror and chaos of the epidemic are all as convincing as they are captivating. The infamous Red Dress scene has lost none of it's power, even after 74 years, Wyler's depiction of social ostracisation and slow realisation is masterful. The DVD transfer for a 74 year old film is as good as can be expected. Sadly in parts the contrast between black & white is not as sharp as it could be, and the special features are not so good, but neither of these minor bad points will detract rom the overall majesty of 'Jezebel'. Highly recommended.
Rating: 
Summary: fine Southern saga
Review: Released a year before MGM's GONE WITH THE WIND, Warner's JEZEBEL was their attempt to do their own Southern saga. Stubborn belle Julie Marston (Bette Davis) goads her jealous fiancee (Henry Fonda) into a rage by flirting shamelessly with other handsome suitors. He breaks the engagement, and wishes to marry another. As yellow fever sweeps the land, Julie discovers her fear old beau has contracted it, and begs with his wife to let her go with him to the yellow fever colony. Davis won an Oscar for this performance. As Julie, Davis is beautiful, stubborn, and down-right expasperating. Featuring Fay Bainter and George Brent, JEZEBEL is great entertainment.
Rating:
Summary: CHARMING TALE OF THE LOVE AND PASSION OF THE OLD SOUTH
Review: Released one year before "Gone With The Wind," Jezebel was the definitive motion picture of the antebellum South. Bette Davis was at her best in portraying the love, the passion, and the cunning of Southern womanhood. Set in the 1850's, amidst the yellow fever epidemic in New Orleans, the film grabs your attention and holds it throughout. Too bad it was made in black and white, though. Color would have added so much.
Rating:
Summary: Terrific performance, pointless and annoying story
Review: The lead character is so very manipulative and knee-jerk reactionary that it's a wonder anyone fellow story charadctput up with her. Her love for her fiance played by a very wooden Henry Fonda seems non-existant, and when he leaves her after an impossible humiliating stunt of hers, she suddenly can't live without him. The story is drawing-room dull, all manners and behaviors. None of the characters are interesting enough to give a rat for. The dramatic ending is inconsequential and improbable.
Rating:
Summary: AFI's Greatest Love Stories: #79 Jezebel
Review: The tagline for the film "Jezebel" was "The South's Greatest Love Story," which certainly reflects the same sort of audacity Robert E. Lee evinced at the battle of Chancellorsville since pretty much everybody in the United States was reading "Gone With the Wind" in 1938 and wondering when David O. Selznick was going to cast someone as Scarlett O'Hara and start making the movie. Bette Davis was not going to get to play Scarlett so instead she Julie Marsden, another Southern belle with a fiery temper. The Academy certainly did not think she was playing a second-rate Scarlett O'Hara, because Davis earned the Oscar for Best Actress that year. Since it is impossible not to hear the echoes of Margaret Mitchell's novel in the plot of "Jezebel," just enjoy the ride. It seems that Julie is upset with her fiance Preston Dillard (Henry Fonda), and intends to embarrass him at the Olympus Ball, the main social event in New Orleans where their engagement will be formally announced. Instead of wearing the traditional white gown worn by unmarried women, Scarlett shows up in a Julie dress, I mean Julie shows up in a red dress (unfortunately this is a black & white film, but you get the idea). However, her gambit backfires, the engagement is broken, and three years later Ashley, I mean, Preston arrives at Miss Julie's plantation with his bride Melanie, I mean, Amy (Margaret Lindsay). The climax of the film comes when a yellow fever epidemic sweeps New Orleans and strikes down Preston. Will Miss Julie risk her life to care for the man she loves? Hey, this is the south's greatest romance, is it not? By its own admission. You might find Fonda a bit stilted as a dashing Southern gentleman, but this is Bette's film from start to finish. Both director William Wyler and Warner Bros' Studios helped fashion a superior character study with solid production values. Wyler would go on to direct Davis to other noted successes in "The Letter" (1940) and "The Little Foxes" (1941). Of course, Vivien Leigh would win the Oscar the following year and the two roles certainly have in common the fact they could not possibly have been viewed with more a critical eye by movie audiences. Best Romantic Lines: (1) "I'm terribly sorry to be late. I had trouble with the colt....So sorry, but you know, when a colt gets high-handed, teach him his manners right now or ruin him."
(2) "Wasn't that memory more real than anything she had to give to you? Oh, don't be cross with me, Pres, just tell me. You must." (3) "I'm askin' for the chance to prove I can be brave and strong and unselfish. Help me, Amy. Help me make myself clean again as you are clean. Let me prove myself worthy of the love I bear him." If you like "Jezebel," then check out these other films on the AFI's list: #2 "Gone With the Wind." Why? Sheesh, were you not paying attention to anything I said above?
Rating:
Summary: AFI's Greatest Love Stories: #79 Jezebel
Review: The tagline for the film "Jezebel" was "The South's Greatest Love Story," which certainly reflects the same sort of audacity Robert E. Lee evinced at the battle of Chancellorsville since pretty much everybody in the United States was reading "Gone With the Wind" in 1938 and wondering when David O. Selznick was going to cast someone as Scarlett O'Hara and start making the movie. Bette Davis was not going to get to play Scarlett so instead she Julie Marsden, another Southern belle with a fiery temper. The Academy certainly did not think she was playing a second-rate Scarlett O'Hara, because Davis earned the Oscar for Best Actress that year. Since it is impossible not to hear the echoes of Margaret Mitchell's novel in the plot of "Jezebel," just enjoy the ride. It seems that Julie is upset with her fiance Preston Dillard (Henry Fonda), and intends to embarrass him at the Olympus Ball, the main social event in New Orleans where their engagement will be formally announced. Instead of wearing the traditional white gown worn by unmarried women, Scarlett shows up in a Julie dress, I mean Julie shows up in a red dress (unfortunately this is a black & white film, but you get the idea). However, her gambit backfires, the engagement is broken, and three years later Ashley, I mean, Preston arrives at Miss Julie's plantation with his bride Melanie, I mean, Amy (Margaret Lindsay). The climax of the film comes when a yellow fever epidemic sweeps New Orleans and strikes down Preston. Will Miss Julie risk her life to care for the man she loves? Hey, this is the south's greatest romance, is it not? By its own admission. You might find Fonda a bit stilted as a dashing Southern gentleman, but this is Bette's film from start to finish. Both director William Wyler and Warner Bros' Studios helped fashion a superior character study with solid production values. Wyler would go on to direct Davis to other noted successes in "The Letter" (1940) and "The Little Foxes" (1941). Of course, Vivien Leigh would win the Oscar the following year and the two roles certainly have in common the fact they could not possibly have been viewed with more a critical eye by movie audiences. Best Romantic Lines: (1) "I'm terribly sorry to be late. I had trouble with the colt....So sorry, but you know, when a colt gets high-handed, teach him his manners right now or ruin him."
(2) "Wasn't that memory more real than anything she had to give to you? Oh, don't be cross with me, Pres, just tell me. You must." (3) "I'm askin' for the chance to prove I can be brave and strong and unselfish. Help me, Amy. Help me make myself clean again as you are clean. Let me prove myself worthy of the love I bear him." If you like "Jezebel," then check out these other films on the AFI's list: #2 "Gone With the Wind." Why? Sheesh, were you not paying attention to anything I said above?
Rating:
Summary: Redeemed by Yellow Jack
Review: This is an excellent film bolstered by superlative production values and above all an exceptional cast. However, make no mistake that this is Bette Davis' film all the way. Bette Davis is the complex Julie Morrison, the self-destructive Southern belle. The story takes place in pre-Civil War upper class New Orleans where gentlemen defended the honor of a lady's name over pistols. Bette Davis brilliantly flaunts these conventions in wicked fashion for mere amusement even though she realizes the abyss she is spiraling herself into. Henry Fonda is good as the very stoic and unbending Preston Dillard. He is the one man whom Davis will ultimately frustrate as he eventually refuses to be maneuvered as one of her pawns. William Wyler directed this film in grand fashion with cinematography by Ernest Haller, art designs by Robert Haas and a good score Max Steiner.
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