Fantastic!

Excellent but underrated film

This story has more twists and turns than a second-rate soap opera.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

"DESPICABLE!!" - Yep. That's right - If I were to describe to you (in just one word) what I thought of Bette Davis as an actress - That one word would definitely be "Despicable!" Believe me - Knowing that Davis is looked upon (by many) as being one of Hollywood's legendary greats - I'm seriously trying to find even one of her films where I'm convinced of that so-called "greatness" of hers. But, so far - I haven't found one yet.Here in 1952's "The Star" - Davis (44 at the time, but looking 64) was downright awful with her hammy, non-stop scenery-chewing.Her performance was so annoyingly self-conscious (as her character wallowed in such a detestable display of self-pity) that, before long, Davis came across to me as if she were, in fact, delivering a grotesque parody of herself (clipped speech, bugged eyes, and all).As I understand it - Davis openly admitted in an interview that her portrayal in said-picture as the sloppy, drunken, aging, has-been actress, Margaret Elliot was, in reality, modelled after her hated rival in real life, actress, Joan Crawford.... Sheesh!!... And, I ask you - How low could this despicable bag go!??

THE STAR is a blatant star vehicle for Ms. Davis, directed by a B-grade studio hack, Stuart Heisler. After her triumphant turn in ALL ABOUT EVE (1950), the film nabs her the tenth Oscar nomination, a record-setter at that time.It is a scenario ever so familiar for Ms. Davis, she plays Margaret Elliot, an Oscar-winning, but now divorced and over-the-hill actress, she has designs on a comeback, but her broken financial status takes her to the rock bottom in the night of the auction of her belongings, she ends up in jail. Bailed out by Jim Johannsen (Hayden), a former sailor and one-time actor whom she discovered, now is a self-reliant mechanic. Jim has always been an admirer of her, and tries very hard to persuade Margaret to face the music of the ageism showbiz. They spend a tranquil time together, occasionally sail to the sea together with Gretchen (Wood), Margaret's teenage daughter.Margaret dabbles in working as a salesgirl under a pseudonym, but her ordinary life as a commoner doesn't last long, she is a careerist, an egoist, a diva who cannot admit defeat so easily. Her agent gets her a secondary role in a new movie which she has hankering after for a long time. During the casting test, she contradicts the director's request and sexes up her character under the delusion that the producer will change the idea to recast her as the young protagonist after seeing her test reel. It goes without saying that she fails to get the part, eventually, a not-too-late wake-up call prompts her to accept the reality check.The script runs unevenly from triteness (is it that easy for a former Hollywood matinée idol to pretend as another person and work in a department store?) to occasionally well-conceived metaphor (the upmarket Desire Me perfume Vs. its sample bottle with coloured water), but has no guts to lift the lid on the paternalism and prejudice of Tinseltown, both Margaret's agent (Anderson) and the producer (Watson) are depicted with benevolence, as if they shouldn't share any responsibility of what has happened to the types like her. Ms. Davis splendidly wears her heart on the sleeve, it is a juicy part, although Margaret is far from a character in line with her persona, Bette Davis will never quit working just because she can no longer play maiden roles, she will feistily fight back, take the has-been part, ignites the screen and proves her prowess, that's the right thing to do in hindsight, but THE STAR advocates a more patronising option for middle-aged female washed-ups, just to find a man who is willing to put up with such a prima donna and never come back, that's plain unforgivable.

A dour film that allows Davis to chew the scenery in a one-note performance she plows through like a histrionic General Patton. Her Maggie Elliot is a washed up movie star who can't make the necessary adjustments to aging. In short, she just can't let the celebrity dream die, even when it causes her to flunk a screen test that calls for an older woman. Had the script allowed some softer moments, I might have felt more sympathy. But as the narrative stands, the tendency is to observe Maggie's behavior instead of engaging with it. Certainly can't say a dowdy Davis was playing it safe. As written, it's an unhappy role that she plays in an extremely unprettified manner. Then too, the bleak photography may mirror Maggie's mood, but drains Hollywood of Hollywood. Thus we get the lemon without the seductive honey. It would have helped to show more of the glamour that Maggie can't leave behind. Then there's towering outdoorsman Sterling Hayden miscast as her erstwhile anchor, along with a pat 1950's ending. Overall, the result is a dour excursion through Hollywood's hall of human castoffs. In my view, it's for Davis fans only.

Compared to other films, this film is not really demanding of Davis talent. The base story has to do with an aging actress having trouble getting roles. She is broke due to a combination of bad investments and sponge relatives & is even tossed out of her apartment.She has an wonderful daughter (played by 14 year old Natalie Wood) who is living with her ex husband due to her difficult circumstances. When she takes her Oscar statue out & does some drunk driving, she winds up in jail. She is bailed out by a man (Sterling Hayden) who loves her & stops her descent into hitting bottom.This is actually a thinly veiled story making fun of one of Davis' foes , IE. Joan Crawford. What it lacks is balance in the casting & script which is why it is not a Sunset Boulevard. The male characters have no teeth, unlike the Holden role in that movie. At least the story is told pretty much straight forwards.While this is not a movie to go out of the way for, if you like Davis it is a pleasant diversion for those times where there is nothing else to watch.