one of my absolute favorites!

Don't listen to the negative reviews

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

The best films of this genre always show a path and provide a takeaway for being a better person.

Do things in life get so complicated that all seems to be a chain of desperate movements within a spider's web of confusion? Can human relations turn out to be so intensely complex and unendurable? Can pretense culminate through years in order to burst out at last or make the heart still for good? Something quite rare in real life, perhaps, but quite frequent on the screen. One of classic representatives of a drama where so much is being felt yet so much being left unsaid is a play by Zoe Akins which inspired screenwriter Casey Robinson and director Edmund Goulding to adapt it to the screen in 1939. Initially, it had been a project by Lubitsch within the Paramount studio with the leading roles planned for Judith Anderson and Helen Menken. That, however, had not materialized. Instead, this Warner Bros production stands out as one of the key entertainments of its time. Goulding's subtle direction can be analyzed as a model from different points; Robinson proved to be faithful to the theatrical source making only some little alternations for the moral requirements of the Code; Tony Gaudio's cinematography boasts of some outstanding moments with striking undertones of images...but those important aspects are not where the movie's true strength lies. It does lie in the cast who make a rather 'unattractive' (for today's viewers) content highly interesting.BETTE DAVIS and MIRIAM HOPKINS in the roles of 'Mrs Stubborn' and 'Mrs Serious,' as the two sisters nickname each other, have equal screen time as female co-stars. That makes THE OLD MAID not merely a vehicle for the Warner Bros star (Davis) but a highly unique, sometimes extremely controversial collaboration of the two. The treasure of skill and movie's major merit is not really hers (Davis's) but theirs...It is impossible to say whose performance is better; that would never be an idea of looking at the film. It is enough to state that the two prove unusual talents and extraordinarily generous acting. The lives of the two actresses crossed at the moment, faced conflicts. Consequently, those emotions are excellently put into all the effect they achieve together on the screen. While Davis was an important star of Warner studios at the time, Hopkins, unfortunately, remained underrated though she already had some great roles behind her. As far as Bette Davis is concerned, I totally agree with New York Times reviewer Frank S Nugent who observed: "Miss Davis has given a poignant and wise performance, hard and austere of surface; yet communicating through it the deep tenderness, the hidden anguish of the heart broken mother." Her portrayal, with the time span of one generation, is supplied with undeniably broad emotions and torments that she pays seeing herself in her own daughter - the girl who was hers only when being very little and who, as a teenager, can call her nothing else than 'aunt Charlotte.' She is a very sympathetic character and easily identified with by various female viewers – there lies the heart of a temperamental maid and a broken mother. Meanwhile, Miriam Hopkins, 'the least desirable companion on a desert island' as the Harvard Lampoon labeled her, proves to be a top notch talent here depicting various tricks of emotional crush with ease. Her Delia is a sort of 'forever young'... a woman of sophisticated appeal and harsh inaccessibility desirable for the kind of role she portrays. But the tensions reach climax when the two women are together. Among many scenes, I would mention the Christmas scene when the time comes for bitter words...though everyone's supposed to be jolly...In between them, as an object of their jealous love, comes Jane Bryan as a young, vibrant, temperamental 'foundling' CLEMenTINA. 'When she talks, she laughs; when she walks, she dances,' as Dr Lanskell (Donald Crisp) nicely defines her. Miss Bryan, though given a considerably limited but significant screen time, gives a lively performance and steals one or two moments of attention from others. Being very memorable here, we can say that she is, in a way, the third female top notch performer. Her movements before the camera, her vibrant gestures, her acting in general call the attention even of the most 'pretentious' viewers. In the supporting roles, a mention should be made of a mainstay of old Hollywood classic (especially in Bette Davis film), Donald Crisp as Dr Lanskell. His remarks are cutting at moments and his presence filled with positive portrayal of an elderly, experienced guy. George Brent, given the role thanks to Bette Davis (the first choice was Humphrey Bogart), has his few moments of good acting as Clem though the role is quite marginal.Finally, I would like to address the appealing psychology of the film. It accurately depicts the culmination of feelings within the wretched scapegoating of other people, sometimes even those who have more rights to something or somebody than we do. Mind you that many scenes take place on staircase that marks the undertone of higher and lower status within favoritism. Charlotte is the scapegoat of the events and yet...there is some hope for her, too... when a great day comes. The finale is so touching because of its simplicity at a relatively satisfactory pace. THE OLD MAID reminds us of universal laws that govern human relations where one loving deed redresses many bitter ones.Let me quote Frank S Nugent who observed something quintessential about this old Hollywood classic: "Scenically, it is a trifle on the static side, which could not be avoided altogether. But dramatically, it is vital, engrossing and a little terrifying." Indeed, its drama has not dated and, though a sweet tearjerker at certain moments, it may wonderfully absorb the viewers of today. Who makes it 'vital, engrossing, little terrifying' if not the PERFORMERS? Thank you Bette, Miriam and Jane! Thank you all!

Civil War-era cousins Bette Davis and Miriam Hopkins seem to have a close relationship while living with their wealthy grandmother in Philadelphia, but Davis is hiding a secret: she conceived a child out of wedlock with Hopkins' ex-fiancé and went West to have the baby. Upon her return, Davis opens a school for war orphans--her own daughter included!--which now infringes upon her wedding to the brother of Miriam's husband. Edith Wharton's book became a Pulitzer-Prize winning play by Zoe Akins before Warner Bros. got hold of it and turned the whole enterprise into a glossy stew for the ladies. It moves along at a fast clip, yet doesn't quite give Davis a strong enough showcase (she was never very good interacting with children, and the character of Charlotte is a bit of a puzzle). Hopkins, the unofficial queen of knuckle-biting, knows nothing of subtlety, though her fluttery dramatics goose the narrative and give the picture some camp appeal. The men are stiff and colorless, however the production is handsome and director Edmund Goulding sorts out the overly-involved plotting for us in a satisfactory manner. **1/2 from ****

This is melodrama in all its splendor.Melodrama at its best.Bette Davis was certainly one of the five best American actresses in history.At the time,(and now?) which actress would have accepted to make herself ugly,to be an old maid ? "The old maid" contains all that a melodrama buff loves: two women caught between deep affection and extreme hate , wasted youth, unwed mother's child,sufferings,love lost forever...Bette Davis runs the whole gamut,from a romantic southern belle to a devoted nurse who takes care of the orphans of the American Civil war (there's a similar story of a child "hidden" in an orphanage in a French movie of the forties : "Péchés de Jeunesse" )to a gray-haired spinster who sacrifices her life for the sake of an ungrateful daughter.In the last part,Davis' performance will leave you on the edge of your seat.She switches from hatred to tenderness ,from anger to tears with the same virtuosity.Although a bit overshadowed,Miriam Hopkins gives a restrained but moving performance .Shall I praise the wonderful use of music?The Wedding March comes back all along the movie,bringing joy and regrets, nostalgia and feelings of long ago, as do the invitation cards.When Davis comes to her daughter's room,on the eve of her wedding,the plaintive tone of "My darling Clementine" reminds us of what Charlotte forever lost.But,my darling Clementina ,you are not gone and lost forever,you are just a kiss away.Wonderful melodrama.

A spinster named Charlotte giving up her life for a girl named Tina. Sounds like the great "Now, Voyager." It's not as good but is passable.Davis plays a woman settling down to a grim spinsterhood after having an illegitimate child. She stays with relative Miriam Hopkins and the two battle it out as the years pass.The film is hurt by the fact that the vast majority of scenes take place in the house where the two are residing.The child, Tina, refers to Davis as Aunt Charlotte and in her bitterness, Davis is highly critical of her. In response, Tina often says nasty things to her.The theme of women giving up their lives to keep a major secret of illegitimacy hidden has often been shown in films. This time it's adequately done to the fine acting of Davis and Hopkins.