2026 Blind Spot Series: The Star
What I knew going in: Nothing
Two Blind Spots in one month? Who is she?! Someone who hasn't been to the theater to see a new wide release and who has been spending a lot of time binging TV shows, that's who. But I missed talking about movies, so I decided to head over to the Bette David collection on HBO Max.
What drew me to The Star, aside from the fact that it stars both Davis and Natalie Wood was the fact that the premise sounded so similar to All About Eve, which I loved. I just had to see why Davis would want to do this again. And while the stories are very different, one of them is a clear winner.
And this ain't it. I wouldn't call this movie "bad" because Bette is truly captivating as always, but she is the only one that is delivering her lines in an unstilted way. This is a very weak script, especially when it comes to the dialogue. There's plenty of platitudes and exposition. Poor Natalie Wood basically has to word vomit all her thoughts because we don't spent enough time with her to know just how much her mother being absent from her life affects her. Even Sterling Hayden, who is supposed to be the hunky love interest that "saves" Maggie kind of comes off like an oof. It's very peculiar to me that a film that includes a scene of Maggie botching line delivery during an audition STILL feels more realistic than the simplest sentence uttered by someone else.
This wasn't even 90 minutes so it breezed by quickly and my main reason for watching was Bette, so I can't say I'm too disappointed. I just wouldn't recommend it to many.
Grade: C
The most memorable thing about this movie, aside from Bette driving around with an Oscar, is how much this wants to be Sunset Blvd. and how much it genuinely isn't. It's worth seeing for Bette, once, and not necessary to see a second time.
ReplyDeleteI have a feeling the car scene is the only thing I'll remember about it in a few years. Might be the closest I've ever been to championing drunk driving lol
DeleteI think I have heard something like this but not much about it other than Bette Davis and Natalie Wood. I might see if I want to do a dive on Bette Davis who is awesome.
ReplyDeleteNatalie Wood is only in 2 and a half scenes so this is definitely a Bette vehicle.
DeleteWhile it isn’t terrible I agree this is a lesser Bette flick even though it did earn her another of her 10 Best Actress nominations.
ReplyDeleteAs always, she tucks into her role with professional gusto and perhaps a bit of backstage glee. The screenwriters, Dale Eunson and Katherine Albert, were long-time friends of Joan Crawford (going through a rough career patch in the early 50’s) who, whether true or not, believed the couple had based Margaret Elliott on her, a belief that was shared by many in the industry including Bette. When the Eunson’s asked Joan to intercede with the proposed marriage of their 18 year old daughter Joan-Crawford’s goddaughter and namesake (who had an initially promising but ultimately brief acting career under the name Joan Evans) to a man they didn’t approve of, Crawford feeling betrayed arranged the ceremony at her house, alerted the press and then called the couple after the vows to tell them about it. Obviously, the friendship was over but in a happy postscript Joan Evans and her husband stayed wed for the next 70 years until his death only 10 months before her own passing.
All of that is far more interesting than what ended up on the screen. You mentioned that Sterling Hayden came across as an oof, and I’d agree but to be honest I’m not a fan of his. Always a stolid impassive performer which on very rare occasions (“The Asphalt Jungle,” “The Killing”) worked for his character to me he usually came across as wooden and rather vacant.
Natalie Wood’s innate star quality makes more of her middling daughter role than it deserves. This came during what she herself described as her “utility” actress period. After her success in “Miracle on 34th Street” she became a recognizable “name” child performer but not a star so when her studio, 20th Century Fox, had a role calling for someone fitting her description they plugged her in it enhancing the picture with another recognizable name but doing nothing for her career. That continued for a few more years until she fought to be cast in “Rebel Without a Cause” which moved her into adult roles though she had to endure a few more years of “girlfriend” parts until she had her adult breakthrough in “Marjorie Morningstar.”
If you are looking for better Bette movies, I’d suggest focusing on films from her heyday in the late 30’s though the mid-40’s. I’d suggest- “Jezebel” (1938)-she won her second Oscar for this, “Dark Victory” (1939), “The Letter” (1940), “The Little Foxes” (1941), “Now, Voyager” (1942) as the best places to head next. One other that isn’t a major film of hers but a pleasant lesser-known comedy “June Bride” (1948) is a favorite of mine.
Dark Victory and Now, Voyager I've seen! Those are both great. Jezebel I need to see. I think that will be my next Bette. I should probably start rotating between her and Joan lol
DeleteThrow in a couple of Natalie films (Splendor in the Grass and Love with the Proper Stranger are essentials) and maybe a Rosalind Russell movie or two (Auntie Mame, The Trouble with Angels, His Girl Friday among many others) and that sounds like a perfect plan!! :-)
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