Ruth Elizabeth "Bette" Davis (April 5, 1908 – October 6, 1989) was a two-time Academy Award-winning American actress of film, television and theatre. Noted for her willingness to play unsympathetic characters, she was highly regarded for her performances in a range of film genres, from contemporary crime melodramas to historical and period films and occasional comedies, though her greatest successes were romantic dramas.
After appearing in Broadway plays, Davis moved to Hollywood in 1930, but her early films for Universal Studios were unsuccessful. She joined Warner Bros. in 1932 and established her career with several critically acclaimed performances. In 1937, she attempted to free herself from her contract and although she lost a well-publicized legal case, it marked the beginning of the most successful period of her career. Until the late 1940s, she was one of American cinema's most celebrated leading actresses, known for her forceful and intense style. Davis gained a reputation as a perfectionist who could be highly combative, and her confrontations with studio executives, film directors and costars were often reported. Her forthright manner, clipped vocal style and ubiquitous cigarette contributed to a public persona which has often been imitated and satirized.
Davis was the co-founder of the Hollywood Canteen, and was the first female president of the Academy of Motion Picture Arts and Sciences. She was the first actress to receive ten Academy Award nominations and the first woman to receive a Lifetime Achievement Award from the American Film Institute. Her career went through several periods of decline, and she admitted that her success had often been at the expense of her personal relationships. Married four times, she was once widowed and thrice divorced, and raised her children as a single parent. Her final years were marred by a long period of ill health, however she continued acting until shortly before her death from breast cancer, with more than one hundred film, television and theater roles to her credit.
Ruth Elizabeth Davis, known from early childhood as "Betty", was born in Lowell, Massachusetts, daughter of Ruth ("Ruthie") Augusta (née Favor), a portrait photographer, and Harlow Morrell Davis, a patent attorney;[1] her sister, Barbara ("Bobby"), was born October 25, 1909. The family was of English, French, and Welsh ancestry.[2] In 1915, Davis's parents separated. Bette, along with Bobby, was sent to a Spartan boarding school called Crestalban, located in the Berkshires, where she stayed for three school years along with Bobby. [3]In 1921, Ruth Davis moved to New York City with her daughters, where she worked. Betty was inspired to become an actress after seeing Rudolph Valentino in The Four Horsemen of the Apocalypse (1921) and Mary Pickford in Little Lord Fauntleroy (1921),[4] and changed the spelling of her name to "Bette" after Honoré de Balzac's La Cousine Bette.[5] She received encouragement from her mother, who had aspired to become an actress.
She attended Cushing Academy, a boarding school in Ashburnham, Massachusetts, where she met her future husband, Harmon O. Nelson, known as "Ham". In 1926, she saw a production of Henrik Ibsen's The Wild Duck with Blanche Yurka and Peg Entwistle. Davis later recalled that it inspired her full commitment to her chosen career, and said, "Before that performance I wanted to be an actress. When it ended, I had to be an actress... exactly like Peg Entwistle".[6] She auditioned for admission to Eva LeGallienne's Manhattan Civic Repertory, but was rejected by LeGallienne who described her attitude as "insincere" and "frivolous".[7] She was accepted by the John Murray Anderson School of Theatre, where she also studied dance with Martha Graham.
She auditioned for George Cukor's stock theater company, and although he was not impressed, he gave Davis her first paid acting assignment – a one week stint playing the part of a chorus girl in the play, Broadway. She was later chosen to play Hedwig, the character she had seen Peg Entwistle play, in The Wild Duck. After performing in Philadelphia, Washington and Boston, she made her Broadway debut in 1929 in Broken Dishes, and followed it with Solid South. She was seen by a Universal Studios talent scout, who invited her to Hollywood for a screen test.
Accompanied by her mother, Davis traveled by train to Hollywood, arriving on December 13, 1930. She later recounted her surprise that nobody from the studio was there to meet her; a studio employee had waited for her, but left because he saw nobody who "looked like an actress". She failed her first screen test but was used in several screen tests for other actors. In a 1971 interview with thingy Cavett, she related the experience with the observation, "I was the most Yankee-est, most modest virgin who ever walked the earth. They laid me on a couch, and I tested fifteen men... They all had to lie on top of me and give me a passionate kiss. Oh, I thought I would die. Just thought I would die."[8] A second test was arranged for Davis, for the film A House Divided (1931). Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the director William Wyler, who loudly commented to the assembled crew, "What do you think of these dames who show their chests and think they can get jobs?"[9] Carl Laemmle, the head of Universal Studios, considered terminating Davis's employment, but the cinematographer Karl Freund told him she had "lovely eyes" and would be suitable for The Bad Sister (1931), in which she subsequently made her film debut.[10] Her nervousness was compounded when she overheard the Chief of Production, Carl Laemmle Jr., comment to another executive that she had "about as much sex appeal as Slim Summerville", one of the film's co-stars.[11] The film was not a success, and her next role in Seed (1931) was too brief to attract attention.
Universal Studios renewed her contract for three months, and she appeared in a small role in Waterloo Bridge (1931) before being loaned to Columbia Pictures for The Menace, and to Capital Films for Hell's House (all 1932). After nine months, and six unsuccessful films, Laemmle elected not to renew her contract.
George Arliss chose Davis for the lead female role in The Man Who Played God (1932), and for the rest of her life, Davis credited him with helping her achieve her "break" in Hollywood. The Saturday Evening Post wrote, "she is not only beautiful, but she bubbles with charm", and compared her to Constance Bennett and Olive Borden.[12] Warner Bros. signed her to a five year contract.
In 1932, she married "Ham" Nelson, who was scrutinized by the press; his $100 a week earnings compared unfavorably with Davis's reported $1000 a week income. Davis addressed the issue in an interview, pointing out that many Hollywood wives earned more than their husbands, but the situation proved difficult for Nelson, who refused to allow Davis to purchase a house until he could afford to pay for it himself.
After more than twenty film roles, the role of the vicious and slatternly Mildred Rogers in Of Human Bondage (1934) earned Davis her first major critical acclaim. Many actresses feared playing unsympathetic characters, and several had refused the role, but Davis viewed it as an opportunity to show the range of her acting skills. Her costar, Leslie Howard, was initially dismissive of her, but as filming progressed his attitude changed and he subsequently spoke highly of her abilities. The director, John Cromwell, allowed her relative freedom, and commented, "I let Bette have her head. I trusted her instincts." She insisted that she be portrayed realistically in her death scene, and said, "the last stages of consumption, poverty and neglect are not pretty and I intended to be convincing-looking".[14]
The film was a success, and Davis's confronting characterization won praise from critics, with Life Magazine writing that she gave "probably the best performance ever recorded on the screen by a U.S. actress."[15] Davis anticipated that her reception would encourage Warner Bros. to cast her in more important roles, and was disappointed when Jack Warner refused to loan her to Columbia Studios to appear in It Happened One Night, and instead cast her in a melodrama, Housewife.[16] When Davis was not nominated for an Academy Award for Of Human Bondage, The Hollywood Citizen News questioned the omission and Norma Shearer, herself a nominee, joined a campaign to have Davis nominated. This prompted an announcement from the Academy president, Howard Estabrook, who said that under the circumstances "any voter...may write on the ballot his or her personal choice for the winners", thus allowing, for the only time in the Academy's history, the consideration of a candidate not officially nominated for an award.[17] Claudette Colbert won the award for It Happened One Night but the uproar led to a change in Academy voting procedures the following year, whereby nominations were determined by votes from all eligible members of a particular branch, rather than by a smaller committee,[18] with results independently tabulated by the accounting firm Price Waterhouse.[19]
Davis appeared in Dangerous (1935) as a troubled actress and received very good reviews. E. Arnot Robertson wrote in Picture Post, "I think Bette Davis would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet". The New York Times hailed her as "becoming one of the most interesting of our screen actresses."[20] She won the Academy Award for Best Actress for the role, but commented it was belated recognition for Of Human Bondage.
For the rest of her life, Davis maintained that she gave the statue its familiar name of "Oscar" because its posterior resembled that of her husband, whose middle name was Oscar,[21][22] although her claim has been disputed by the Academy of Motion Picture Arts and Sciences, among others.
In her next film, The Petrified Forest (1936), Davis costarred with Leslie Howard and Humphrey Bogart, but Bogart, in his first important role, received most of the critics' praise. Davis appeared in several films over the next two years but most were poorly received.
Convinced that her career was being damaged by a succession of mediocre films, Davis accepted an offer in 1936 to appear in two films in England. Knowing that she was breaching her contract with Warner Bros., she fled to Canada to avoid legal papers being served upon her. Eventually brought to court in England, she later recalled the opening statement of the barrister, Sir Patrick Hastings, who represented Warner Bros.. Hastings urged the court to "come to the conclusion that this is rather a naughty young lady and that what she wants is more money". He mocked Davis's description of her contract as "slavery" by stating, incorrectly, that she was being paid $1,350 per week. He remarked, "if anybody wants to put me into perpetual servitude on the basis of that remuneration, I shall prepare to consider it". The British press offered little support to Davis, and portrayed her as overpaid and ungrateful.[23]
Davis explained her viewpoint to a journalist, saying "I knew that, if I continued to appear in any more mediocre pictures, I would have no career left worth fighting for".[24] Davis's counsel presented her complaints - that she could be suspended without pay for refusing a part, with the period of suspension added to her contract, that she could be called upon to play any part within her abilities regardless of her personal beliefs, that she could be required to support a political party against her beliefs, and that her image and likeness could be displayed in any manner deemed applicable by the studio. Jack Warner testified, and was asked, "Whatever part you choose to call upon her to play, if she thinks she can play it, whether it is distasteful and cheap, she has to play it?" Warner replied, "Yes, she must play it."[25]
The case, decided by Branson J. in the English High Court, was reported as Warner Bros. Studios Incorporated v. Nelson in [1937] 1 KB 209. Davis lost the case and returned to Hollywood, in debt and without income, to resume her career. Olivia de Havilland mounted a similar case in 1943 and won.
But what Davis won turned out to be much more important: control over her public image. Away from the studio in England, she was also away from the control of Warners' publicists. And despite the fact that she lost the case, she gained a public persona built on independence, feistiness, and self-determination - elements that would characterize some of her greatest heroines.
Davis began work on Marked Woman (1937), as a prostitute in a contemporary gangster drama inspired by the case of Lucky Luciano. The film, and Davis's performance, received excellent reviews and her stature as a leading actress was enhanced.
During the filming of her next film, Jezebel, Davis entered a relationship with the director, William Wyler. She later described him as the "love of my life", and said that making the film with him was "the time in my life of my most perfect happiness".[27] The film was a success, and Davis's performance as a spoiled "Southern Belle" earned her a second Academy Award, which led to speculation in the press that she would be chosen to play a similar character, Scarlett O'Hara, in Gone with the Wind. Davis expressed her desire to play Scarlett, and while David O. Selznick was conducting a search for the actress to play the role, a radio poll named her as the audience favorite. Warner offered her services to Selznick as part of a deal that also included Errol Flynn and Olivia de Havilland, but Selznick did not consider Davis as suitable, and rejected the offer.[28]
Over the next few years Davis was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars that had generated the most revenue in their theaters over the previous year.[29] In contrast to Davis's success, her husband, Ham Nelson, had failed to establish a career for himself, and their relationship faltered. In 1938, Nelson obtained evidence that Davis was engaged in a sexual relationship with Howard Hughes and subsequently filed for divorce citing Davis's "cruel and inhuman manner".
She was emotional during the making of her next film, Dark Victory (1939), and considered abandoning it until the producer Hal Wallis convinced her to channel her despair into her acting. The film became one of the highest grossing films of the year, and the role of Judith Traherne brought her an Academy Award nomination. In later years, Davis cited this performance as her personal favorite.[31]
She appeared in three other box office hits in 1939, The Old Maid with Miriam Hopkins, Juarez with Paul Muni and The Private Lives of Elizabeth and Essex with Errol Flynn. The latter was her first color film, and was her only color film made during the height of her career. To play the elderly Elizabeth I of England, Davis shaved her hairline and eyebrows. During filming she was visited on the set by the actor, Charles Laughton. She commented that she had a "nerve" playing a woman in her sixties, to which Laughton replied, "Never not dare to hang yourself. That's the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut". Recalling the episode many years later, Davis remarked that Laughton's advice had influenced her throughout her career.
By this time, Davis was Warner Bros.' most profitable star, described as "The Fourth Warner Brother", and she was given the most important of their female leading roles. Her image was considered with more care; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes. All This and Heaven Too (1940) was the most financially successful film of Davis's career to that point, while The Letter was considered "one of the best pictures of the year" by the Hollywood Reporter, and Davis won admiration for her portrayal of an adulterous killer.[33] During this time she was in a relationship with her former costar George Brent, who proposed marriage. Davis refused, as she had met Arthur Farnsworth, a New England innkeeper. They were married in December 1940.
In January 1941, Davis became the first female president of the Academy of Motion Picture Arts and Sciences but antagonized the committee members with her brash manner and radical proposals. In view of the war in Europe, Davis advocated changing the venue for Academy Awards ceremonies from banquet halls to theaters, and charging admission to raise funds for the British War Relief. She also advocated that film extras should not have the opportunity to vote for awards. Faced with the disapproval and resistance of the committee, Davis resigned, and was succeeded by Jean Hersholt, who implemented the changes she had suggested.
William Wyler directed Davis in Lillian Hellman's The Little Foxes (1941), but they clashed over the interpretation of the character, Regina Giddens. Originally played on stage by Tallulah Bankhead, Davis did not want to duplicate Bankhead's performance, although in many scenes Wyler felt that Bankhead's interpretation was more appropriate. Davis refused to compromise on several points, and although she received another Academy Award nomination for her performance, she never worked with Wyler again.
In the same year, Davis appeared briefly in Shining Victory, the directorial debut of her friend, Irving Rapper. [34] He would go on to direct her in four more films: Now, Voyager (1942), The Corn is Green (1945), Deception (1946), and Another Man's Poison (1952).
Following the Japanese attack on Pearl Harbor, Davis spent the early months of 1942 traveling across the U.S. selling war bonds. Criticized by Jack Warner for her tendency to cajole and harangue crowds into buying, she reminded him that her audiences responded most strongly to her "pregnant dog" performances. She considered herself to be proven correct when she sold two million dollars worth of bonds in two days, as well as a picture of herself in Jezebel for $250,000. She also performed for black regiments as the only white member of an acting troupe formed by Hattie McDaniel, that also included Lena Horne and Ethel Waters.[35]
When John Garfield discussed opening a serviceman's club in Hollywood, Davis responded enthusiastically. With the aid of Warner, Cary Grant and Jule Styne, they transformed an old nightclub into the "Hollywood Canteen", which opened on October 3, 1942. Hollywood's most important stars volunteered their time and talents to entertain servicemen prior to them being sent to war. Davis ensured that every night there would be at least a few important "names" for the visiting soldiers to meet, often calling on friends at the last moment to ensure the soldiers would not be disappointed.[36] She appeared as herself in the film Hollywood Canteen (1944) which used the canteen as the setting for a fictional story. The canteen remained in operation until the end of World War II. Davis later commented, "There are few accomplishments in my life that I am sincerely proud of. The Hollywood Canteen is one of them." In 1980, she was awarded the Distinguished Civilian Service Medal, the United States Department of Defense's highest civilian award, for her work with the Hollywood Canteen.[37]
Davis had initially shown little interest in the film Now, Voyager (1942) until Hal Wallis advised her that female audiences needed romantic dramas to distract them from the reality of their lives. It became one of the best known of her "women's pictures". In it she portrayed dowdy, repressed spinster Charlotte Vale, who is forced to cater to her domineering mother's demands until psychiatric therapy and a physical makeover transform her into a beautiful, confident woman. The cigarette, often used by Davis as a dramatic prop, featured prominently in one of the film's most imitated scenes, in which Paul Henreid lit two cigarettes before passing one to Davis. Film reviewers complimented Davis on her performance despite some perceived weaknesses in the film's narrative, with the National Board of Review commenting that Davis gave the film "a dignity not fully warranted by the script".[38]
During the early 1940s several of Davis's film choices were influenced by the war; Watch on the Rhine (1943) featured her in a relatively low-key role, as the wife of the leader of an underground anti-Nazi movement, while Thank Your Lucky Stars (1943) was a lighthearted all-star musical cavalcade, with each of the featured stars donating their fee to the Hollywood Canteen. Davis performed a novelty song, "They're Either Too Young or Too Old", which became a hit record after the film's release.
Old Acquaintance (1943) reunited her with Miriam Hopkins in a story of two old friends who deal with the tensions created when one of them becomes a successful novelist. Davis felt that Hopkins tried to upstage her throughout the film's production, and the director Vincent Sherman and costar Gig Young later recalled the intense competitiveness and animosity between the two actresses, and Davis often joked that she held back nothing in a scene in which she was required to shake Hopkins in a fit of anger. In August 1943, Davis's husband, Arthur Farnsworth, collapsed while walking along a Hollywood street, and died two days later. An autopsy revealed that his fall had been caused by a skull fracture which had occurred about two weeks earlier. Davis testified before an inquest that she knew of no event that might have caused the injury, and a finding of "accidental death" was reached. Highly distraught, she attempted to withdraw from her next film Mr. Skeffington (1944), but Jack Warner, who had halted production following Farnsworth's death, convinced her to continue.
Although she had gained a reputation for being forthright and somewhat confrontational during the making of some of her previous films, her behavior during filming of Mr. Skeffington was erratic and out-of-character. She alienated the director, Vincent Sherman, by refusing to film certain scenes, and insisted that some sets be rebuilt. She improvised dialogue, causing confusion among other actors, and infuriated the writer Julius Epstein, who was also called upon to rewrite scenes at her whim. Davis later explained her actions with the observation, "when I was most unhappy I lashed out rather than whined." Some reviewers criticized Davis for the excess of her performance; James Agee wrote that she "demonstrates the horrors of egocentricity on a marathonic scale",[40] but despite the mixed reviews, she received another Academy Award nomination.
She married an artist, William Grant Sherry, in 1945. She had been drawn to him partly because he had never heard of her and was therefore not intimidated by her, but after their marriage the disparity between their levels of professional success and earnings led to tensions and arguments.[41]
The Corn is Green (1945) starred Davis as a dowdy English teacher, who saves a young Welsh miner from a life in the coal pits, by offering him education. The film was well received by critics but did not find a substantial audience. A Stolen Life (1946) received poor reviews, but was one of her biggest box-office successes. It was followed by Deception (1946), the first of her films to lose money.[42]
In 1947, Davis gave birth to a daughter, Barbara (known as B.D.) and later wrote in her memoir that she became absorbed in motherhood and considered ending her career. Her relationship with Sherry began to deteriorate and she continued making films, but her popularity with audiences was steadily declining.[43] After the completion of Beyond the Forest (1949), Jack Warner released Davis from her contract, at her request. The reviews that followed were scathing; Newsweek called it "undoubtedly one of the most unfortunate stories [Davis] has ever tackled", while Dorothy Manners writing for the Los Angeles Examiner, criticized the "sheer hysteria and overexposed histrionics" of Davis's performance, and described the film as "an unfortunate finale to her brilliant career".[44] Hedda Hopper wrote, "If Bette had deliberately set out to wreck her career, she could not have picked a more appropriate vehicle."[45] The film contained the line, "What a dump!", which became closely associated with Davis after impersonators used it in their acts. In later years, Davis often used it as her opening line at speaking engagements.