Bette Davis

Bette Davis (born April 5, 1908, Lowell, Massachusetts, U.S.—died October 6, 1989, Neuilly-sur-Seine, France) was a versatile, volatile American actress, whose raw, unbridled intensity kept her at the top of her profession for 50 years.

Davis developed a taste for acting while attending her mother’s alma mater, Cushing Academy in Massachusetts. After gaining a smattering of experience in summer stock, she was accepted by John Murray Anderson’s acting school, where she quickly became a star pupil. In 1929 she made her first Broadway appearances, in The Earth Between and Broken Dishes, which led to a movie contract with Universal Pictures. Upon her arrival in Hollywood, however, the studio executives determined that she had no “sex appeal,” and, after a series of thankless roles in such films as Bad Sister (1931) and a handful of equally unrewarding loan-outs to other studios, Universal dropped her option. The dispirited young actress was on the verge of looking for another line of work when actor Murray Kinnell, with whom she had appeared in The Menace (1932), recommended her to play the ingenue in Warner Brothers’ The Man Who Played God (1932). The positive critical response to her work in this film prompted Warner Brothers to sign Davis to a contract.

After a series of undemanding roles for Warner Brothers, she begged the studio to lend her to RKO Radio Pictures to play the vicious, relentlessly unsympathetic Mildred in Of Human Bondage (1934), a film version of W. Somerset Maugham’s novel. Davis’s bravura performance as Mildred won her critical acclaim and industry respect, but studio politics prevented her from receiving an Academy Award. She subsequently won what many considered a “consolation” Oscar for her portrayal of an alcoholic, self-destructive actress in Dangerous (1935).

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Her achievements notwithstanding, Warner Brothers continued to cast Davis in roles she considered beneath her talents and refused to pay her what she felt she was worth. Suspended by the studio for turning down yet another inconsequential role, she went to England to seek better roles. When Warner Brothers blocked her from doing any work outside of her contract, she sued the studio—and lost. In the long run, however, she won: upon returning to Warner Brothers, she was lavishly indulged. Her salary demands were met, and her choice of screen assignments improved dramatically. She went on to win a second Oscar, for Jezebel (1938), the first of three rewarding collaborations with director William Wyler. Her other notable vehicles from this period included Dark Victory (1939), for which she received an Oscar nomination; Juarez (1939), in which she played the archduchess Carlota; and The Private Lives of Elizabeth and Essex (1939), in which she portrayed Queen Elizabeth I.

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During the 1940s Davis made several successful movies, including The Letter (1940), The Little Foxes (1941), Now, Voyager (1942), Watch on the Rhine (1943), and The Corn Is Green (1945), and she received Academy Award nominations for her performances in the first three films. However, her career began to falter near the end of the decade. She severed her 18-year relationship with Warner Brothers in 1949 and staged the first of several spectacular comebacks with her virtuoso performance as Broadway diva Margot Channing in All About Eve (1950), which netted her another Oscar nod. She also portrayed Elizabeth I a second time in The Virgin Queen (1955). Although she was again written off as washed up in the early 1960s, she revitalized her career with the Grand Guignol classic What Ever Happened to Baby Jane? (1962), for which she was again nominated for an Academy Award. In 1977 she became the first woman to receive the American Film Institute Life Achievement Award. Two years later she won an Emmy for her work in the made-for-television movie Strangers: The Story of a Mother and Daughter (1979). She received a Kennedy Center honor in 1987. Davis suffered devastating health problems in her final decade, but she continued working until a year before her death.

Married four times, Davis eloquently conveyed the vicissitudes of stardom in her autobiographies, The Lonely Life (1962) and This ’n’ That (1987). She also provided running commentary for Whitney Stine’s account of her film career, Mother Goddam: The Story of the Career of Bette Davis (1974).