When Miss Moffat arrives in a small rural Welch community to start a school for both young and old, at first she is met with some resistance. But before she even has all of her books unpacked, the classes are packed, and practically everybody in the community is anxious to learn to read and write. She finds one particularly gifted student (John Dall) whom she tutors on the side, sure he is smart enough to pass an exam for a scholarship to Oxford. But the trashy Joan Loring, a train wreck waiting to happen, has her eyes on Dall, much like Delilah did on Samson. This threatens to destroy Dall's chances for a bright future, which is something that the tough Miss Moffat can't allow to happen.
The hit Broadway play (by Emlyn Williams) was a triumph for the legendary Ethel Barrymore, but for the screen, Warner Brothers cast the younger Bette Davis. I don't think it is necessary to explain why, but in the mid 1940's, Davis was the Queen of Cinema, much like Ms. Barrymore was the Queen of the Theatre (or at least one of many). Not afraid to age herself (as proved in the previous year's "Mr. Skeffington"), Davis does make herself look more matronly than her 35 years. Her voice here has become what the imitators mimic, so at times, the performance does seem a bit more mannered and less subtle. The Oscar nominations went to Dall and Loring, even though they never went onto become household names. Loring's character is probably one of the most vicious young women ever on screen, sort of a grown-up version of "These Three's" Bonita Granville. Her passive/aggressive sweetness has a tinge of acid in it, and when she finally explodes, she reminds me of Davis's Mildred in "Of Human Bondage". Dall's performance is much subtler, as his role gives him the chance to let the character grow from uneducated hick to a young man with much promise ahead of him.
Outstanding production design makes this an attractive film to look at, and it is fascinating to watch unwind. In smaller roles, Nigel Bruce, Mildred Dunnock, Rhys Williams and Rosalind Ivan shine; Ivan's character (Loring's mother who amusingly admits she can't stand her own daughter!) has a final up there with the Margaret Hamilton slap that Granville got in "These Three". There is a bit of late war patriotism propaganda here as Davis's final speech on what Dall must focus on now that he's moving to a new life seems to be a plea for the young men of America to strive to move past their potential.
The hit Broadway play (by Emlyn Williams) was a triumph for the legendary Ethel Barrymore, but for the screen, Warner Brothers cast the younger Bette Davis. I don't think it is necessary to explain why, but in the mid 1940's, Davis was the Queen of Cinema, much like Ms. Barrymore was the Queen of the Theatre (or at least one of many). Not afraid to age herself (as proved in the previous year's "Mr. Skeffington"), Davis does make herself look more matronly than her 35 years. Her voice here has become what the imitators mimic, so at times, the performance does seem a bit more mannered and less subtle. The Oscar nominations went to Dall and Loring, even though they never went onto become household names. Loring's character is probably one of the most vicious young women ever on screen, sort of a grown-up version of "These Three's" Bonita Granville. Her passive/aggressive sweetness has a tinge of acid in it, and when she finally explodes, she reminds me of Davis's Mildred in "Of Human Bondage". Dall's performance is much subtler, as his role gives him the chance to let the character grow from uneducated hick to a young man with much promise ahead of him.
Outstanding production design makes this an attractive film to look at, and it is fascinating to watch unwind. In smaller roles, Nigel Bruce, Mildred Dunnock, Rhys Williams and Rosalind Ivan shine; Ivan's character (Loring's mother who amusingly admits she can't stand her own daughter!) has a final up there with the Margaret Hamilton slap that Granville got in "These Three". There is a bit of late war patriotism propaganda here as Davis's final speech on what Dall must focus on now that he's moving to a new life seems to be a plea for the young men of America to strive to move past their potential.