Love Bette Davis and director William Wyler, Davis has some iconic performances under her belt and Wyler has directed some of the best films there are.
'The Letter' may not quite be Wyler's very best (which is testament to how fabulous his very best are, because 'The Letter' is still brilliant), but it is Davis's best films and one of her greatest ever performances. She is truly magnificent here and there has rarely been a more chilling performance from her. It's not Davis that makes 'The Letter' so great. She has a supporting cast that are more than up to her level. Herbert Marshall's, an actor who works for me and sometimes doesn't, performance is also up there with his best.
Faring best in support are James Stephenson, never better which makes his ultimely death soon after aged just 52 even sadder, and particularly the most sinister performance Gale Sondergaard ever gave (she sends chills down the spine and induces goose bumps).
Further advantages are a taut script, a compelling and suspenseful story, that is unmistakably melodrama but never in an overwrought way and actually pretty tense, and Wyler's superbly controlled direction.
As well as atmospheric photography, the shadows alone are enough to freak one out, sumptuous production design and a hauntingly melodic score written in the most unmistakable style of Max Steiner. The ending is admittedly tacky and comes close to contrivance, but the shock value makes it just about work.
Overall, brilliant. 10/10 Bethany Cox
'The Letter' may not quite be Wyler's very best (which is testament to how fabulous his very best are, because 'The Letter' is still brilliant), but it is Davis's best films and one of her greatest ever performances. She is truly magnificent here and there has rarely been a more chilling performance from her. It's not Davis that makes 'The Letter' so great. She has a supporting cast that are more than up to her level. Herbert Marshall's, an actor who works for me and sometimes doesn't, performance is also up there with his best.
Faring best in support are James Stephenson, never better which makes his ultimely death soon after aged just 52 even sadder, and particularly the most sinister performance Gale Sondergaard ever gave (she sends chills down the spine and induces goose bumps).
Further advantages are a taut script, a compelling and suspenseful story, that is unmistakably melodrama but never in an overwrought way and actually pretty tense, and Wyler's superbly controlled direction.
As well as atmospheric photography, the shadows alone are enough to freak one out, sumptuous production design and a hauntingly melodic score written in the most unmistakable style of Max Steiner. The ending is admittedly tacky and comes close to contrivance, but the shock value makes it just about work.
Overall, brilliant. 10/10 Bethany Cox