The Great Lie (1941)

. . . upon which Warner Bros.' THE GREAT LIE is based. When THE GREAT LIE was released, the model for actor George Brent's "Flyboy Pete" character--Charles Lindbergh--was desperately making the rounds of all his Rich People Party buddies in the U.S. Senate, vainly trying to convince his Fellow Travelers Down the Path to "Neutrality" to make FDR's Military Leaders forgive and forget that he had spent much of the previous decade hobnobbing with Hitler and the other Architects of the Holocaust over there in Nazi Germany. On a more personal level, Warner Bros. sought to scotch this Quisling's chances of commanding as much as a barrage balloon by disclosing to the Public that the "Lindbergh Baby" was NEVER "kidnapped;" that the poor tyke's death was some sort of a Shaken Baby Syndrome Inside Job, and that the Lindbergh Family's Evil Henchmen had conspired to cover up Chuck's gross child neglect or abuse by frying what amounted in their eyes to an inconsequential "nobody"--lowly Union Man carpenter Bruno Hauptmann. Some of the overt clues to THE GREAT LIE's contemporary viewers that Warner provides about Bruno's state-sanctioned slaying by the Lindbergh Mob come at 1:39:20, when Mary Astor (as Mr. Lindbergh) threatens to kidnap her own baby; at 59:16, when the 9-months pregnant Astor brags about smoking "only" 18 cigarettes between breakfast and mid-afternoon; and with Mary\Anne's art dilettante character guzzling jeroboams of hard liquor during her first trimester, like a chick in a test group trying to pop out babies with fetal alcohol syndrome. No wonder everyone says Linbergher Cheese stinks!

When the film begins, you might assume it was a comedy. But before long you realize that it is a very serious drama. Some say melodrama, although I would not agree. Yes, it's a rather unique situation, but when you consider that this was war-time, well stranger things have happened.What is there about the Bette Davis - George Brent pairing? While she was something special in many movies, he was only something special when he starred with her. Oh, he was a good actor and very enjoyable, but somehow Bette Davis brought out the very best in George Brent.Although not one of my favorites, every now and then Mary Astor turned in magnificent performances, and this certainly was one of them (and, rightfully so she earned an Oscar for Best Supporting Actress). The other character actors and actresses contribute to making this a very enjoyable film. In particular, Hattie McDaniels, magnificent as always.But what always stands out for me regarding this film are the scenes supposedly in Arizona. I wasn't sure at first which state in the desert it was supposed to be in, but somehow it always reminded me of the Petrified Forest. But it's the interaction of Davis and Astor while Astor is waiting to deliver the baby that are just scintillating. And, of course, it's great fun watching Bette slap Astor, although this role is somewhat different for Davis...or at least one of the roles where she plays a truly nice and gentle person.Highly recommended...Davis at her best...Astor at her best...Brent at his best.

"The Great Lie" released in 1941, was made at the height of Bette Davis' fame at Warner Brothers. It's not a very well-known film, and it also stars Bette's frequent co-star, George Brent, and Mary Astor is on hand as well. The three principle stars get mixed up in a sort-of love triangle. George Brent plays Peter, a playboy of sorts, who marries Sandra (Mary Astor) a vain, self-centered pianist. They marry on a whim, find out the marriage is not legitimate; so Peter, realizing he still loves Maggie (Bette Davis) then marries her! Wow...after aviator Peter flies to Brazil and is assumed dead, Sandra discovers she is pregnant. Being that she is career-focused and about as maternal as a rattlesnake, she agrees to allow Maggie to raise the baby. Well, lo and behold, Peter turns up after a year, not dead at all. Maggie lies to him and tells him the baby is hers. Sandra shows up, agrees they had a bargain, but now that Pete is alive, well, she wants him back and the baby. What to do? What saves this improbable and somewhat ridiculous story is the performances of Bette Davis and Mary Astor. Astor clearly has the more delicious part, playing a totally self-absorbed diva and throwing off catty one-liners at Davis. Bette plays her part as more maternal and traditional, but she is not above giving Astor an occasional look that could kill. This film, while certainly not great, shows the real talent of Bette Davis. One of her genuine strengths as an actress was to be able to take the occasional mundane scripts Jack Warner threw at her and turn them into something real. There are also able supporting performances by the reliable Hattie McDaniel and Lucile Watson as well. Worth checking out just to see Davis and Astor go at each other a couple of times.

For many fans of classic films, this is a fun favorite, mainly because of the performances of Bette Davis as Maggie and Mary Astor as Sandra. George Brent plays a playboy, Pete, who marries concert pianist Sandra, only to find out a few days later that her divorce wasn't final. Apparently (though this isn't explained) he was involved with Maggie shortly before, but she refused to marry him because he's a drunk. However, she does marry him.There's a problem, though, which is that Sandra turns up pregnant. Then Pete is missing in Brazil somewhere and is believed dead. Maggie talks Sandra into having the baby and letting her and Brent raise it, in exchange for supporting Sandra financially, and she can continue with her concert career unfettered. The two go to a cabin in Arizona where Sandra, a big drinker with other lousy habits, can be supervised.Well, it's pretty hilarious and only gets better. Davis and Astor give as good as they get to each other, with Sandra screaming that she's an artist who can't get nourishment from a lettuce leaf, and Maggie offering to make her a sandwich. And we all know what happens - Sandra is a nasty you know what and reneges big time.This is truly a wonderful movie for some reason - actors in those days were able to make you believe anything and go right along with it, and take the plight of the characters seriously. This is probably because the stories were character-driven and audiences invested in the people and therefore bought the story.Well-directed by Edmund Goulding, the performances are wonderful from the women, Davis, Astor, and Hattie McDaniel as Maggie's maid, who again proves her strong acting abilities. Brent, who made a career out of supporting these huge female stars, is good.Can't beat this one for entertainment.