Jezebel [Blu-ray]

Overview

In 1938, Jezebel was widely regarded as Warner Bros.' "compensation" to Bette Davis for her losing the opportunity to play Scarlett O'Hara in Gone With the Wind. Resemblances between the two properties are inescapable: Jezebel heroine Julie Marsden (Davis) is a headstrong Southern belle not unlike Scarlett (Julie lives in New Orleans rather than Georgia); she loves fianc? Preston Dillard (played by Henry Fonda) but loses him when she makes a public spectacle of herself (to provoke envy in him) by wearing an inappropriate red dress at a ball, just as Scarlett O'Hara brazenly danced with Rhett Butler while still garbed in widow's weeds. There are several other similarities between the works, but it is important to note that Jezebel is set in the 1850s, several years before Gone With the Wind's Civil War milieu; and we must observe that, unlike Scarlett O'Hara, Julie Marsden is humbled by her experiences and ends up giving of her time, energy, and health during a deadly yellow jack outbreak. Bette Davis won an Academy Award for her portrayal of Julie; an additional Oscar went to Fay Bainter for her portrayal of the remonstrative Aunt Belle (she's the one who labels Julie a "jezebel" at a crucial plot point). The offscreen intrigues of Jezebel, including Bette Davis' romantic attachment to director William Wyler and co-star George Brent, have been fully documented elsewhere. Jezebel was based on an old and oft-produced play by Owen Davis Sr.

Product Details

Release Date:	08/27/2019
UPC:	0883929692477
Original Release:	1938
Rating:	NR
Source:	ALLIED VAUGHN
Presentation:	[B&W]
Language:	English
Time:	1:44:00

Special Features

Commentary by film historian Jeanine Basinger; Featurette Jezebel: Legend of the South; Vintage musical short Melody Masters: Jimmy Dorsey and His Orchestra; Classic cartoon Daffy Duck in Hollywood; Promotion: "Rambling 'Round the Hollywood Studio with the Candid Cameraman; Theatrical trailer

Cast & Crew

Performance Credits

Bette Davis	Julie Marsden
Henry Fonda	Preston Dillard
George Brent	Buck Cantrell
Margaret Lindsay	Amy Bradford Dillard
Fay Bainter	Aunt Belle Massey
Richard Cromwell	Ted Dillard
Donald Crisp	Dr. Livingstone
Henry O'Neill	Gen. Bogardus
John Litel	Jean LeCour
Gordon Oliver	Dick Allen
Janet Shaw	Molly Allen
Spring Byington	Mrs. Kendrick
Georgia Caine	Mrs. Petion
Irving Pichel	Huger
Georges Renavent	De Lautrec
Fred Lawrence	Bob
Ann Codee	Mme. Poulard the Dressmaker
Lou Payton	Uncle Cato
Lew Payton	Uncle Cato
Charles Middleton	Officer,Officer
Eddie "Rochester" Anderson	Gros Bat
Theresa Harris	Zette
Stymie Beard	Ti Bat
Sam McDaniel	Driver
Charles Wagenheim	Customer
Jacques Vanaire	Durette
Daisy Bufford	Black Flower Girl
Jesse Graves	Black Servant
Frederick Burton	Bank Director
Edward McWade	Bank Director
Al Bridge	New Orleans Sheriff,New Orleans Sheriff
Frank Darien	Bank Bookkeeper
Suzanne Dulier	Midinette
John Harron	Jenkins
Philip Hurlic	Erronens,Errata
Davison Clark	Deputy Sheriff
Trevor Bardette	Sheriff at Plantation
George Guhl	Fugitive Planter
Maurice Brierre	Drunk
Tony Paton	Drunk
Jack Norton	Drunk
Louis Mercier	Bar Companion
Margaret Early	Stephanie Kendrick
Jack George	Orchestra Leader
Max Steiner	Composer

Technical Credits

Clements Ripley

Abem Finkel

John Huston

Robert Bruckner

William Wyler	Director
Clements Ripley	Screenwriter
Abem Finkel	Screenwriter
John Huston	Screenwriter
Henry Blanke	Producer
Robert Bruckner	Screenwriter

Scene Index

Introduction ix

My Half: Kind Candor xvi

Part I The Emotional Ingredients 1

Gratitude 3

Self-Awareness 11

Accountability 17

Optimism 23

Empathy 27

Kindness 33

Tenacity 39

Curiosity 45

Patience 51

Conviction 55

Humility 59

Ambition 65

Part II Real-Life Scenarios 69

Part III Exercises 175

Conclusion 191

The inspiration Behind This Book 195

Acknowledgments 197

Notes 199

Editorial Reviews

Jezebel, which wrapped up as Gone With the Wind was entering pre-production, was either Bette Davis' feature-length screen test for Scarlett O'Hara or a consolation prize for not getting the part. Regardless, she handles the title role with the catty, manipulative cruelty that characterized many of her best performances. As her beau, Henry Fonda appears a little uncomfortable in the period piece. Ultimately, the film's success is wrapped around Davis' steely performance and the elegant production values: it is filmed in evocative black-and-white, and the cinematography uses light and shadow to build texture and mood and to help us forget that Davis' scandalous red dress is left up to our imaginations. Composer Max Steiner's music (he also composed the score for Gone With the Wind) is atmospherically effective. The film's study of the conventions and gender roles of the antebellum South occasionally makes the film feel more like a socio-historical document than a drama. Jezebel was nominated for five Academy Awards, including Best Picture, winning for Davis and for Fay Bainter as her aunt.

Any serious student of Reformed theology needs to sit at the feet of Petrus van Mastricht. The challenge has been that to do so you needed to know Latin or Dutch. Thanks to the herculean efforts of the folks at the Dutch Reformed Translation Society and Reformation Heritage Books, English readers can now learn the art of ‘living for God through Christ.’” —Stephen J. Nichols, president of Reformation Bible College and chief academic officer of Ligonier Ministries


“With each translation of the formative Reformed theologians of the sixteenth and seventeenth centuries comes the possibility of our churches being renewed by forgotten treasures. This is one of those gold mines. So important is van Mastricht that even Descartes felt obliged to respond to his critiques and Jonathan Edwards drew deeply from the well of his Theoretical-Practical Theology. It is a distinct pleasure to recommend this remarkable gem.” —Michael Horton, J. Gresham Machen Professor of Systematic Theology and Apologetics, Westminster Seminary California


“The very title of this work, Theoretical-Practical Theology, indicates why, three centuries ago, Petrus van Mastricht’s work appealed to Scottish ministers who studied under him or read his theology. Not least of these was his student James Hog, who would later famously republish The Marrow of Modern Divinity. In making van Mastricht’s classic available in English for a new generation of students, pastors, and scholars, the Dutch Reformed Translation Society and Reformation Heritage Books are giving a great gift to the Christian church as a whole, and to students, pastors, and scholars in particular.” —Sinclair B. Ferguson, Chancellor’s Professor of Systematic Theology, Reformed Theological Seminary; and teaching fellow, Ligonier Ministries

From the Publisher