Review of The Letter (1940) by Nate W — 23 Jul 2010
"The Letter" starts with a bang (six bangs actually) as Bette Davis unloads a full round into her secret lover and claims self-defense. But an incriminating letter she wrote threatens to expose her, and she and her lawyer friend (James Stephenson) must acquire it from the deceased man's widow in order to protect their case.
Davis is superb, as always. Her best acting moments come when she simply stares at the moon, the contemplations of her guilt glazed over her wide, austere eyes. Stephenson is also excellent, torn between his professional ethics and helping his friend.
William Wyler's confident direction allows the film to break free from its stage roots, using liberal camera movement, lighting, sound, and music to convey humidity and tension. One notable flaw is the cop-out ending; the Hays Production Code's demand for "compensating moral values" axed the more complex and affecting conclusion of the play in favour of a much weaker alternative.
This review of The Letter (1940) was written by Nate W on 23 Jul 2010.
The Letter has generally received very positive reviews.
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