A Stolen Life (1946)

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What could possibly be better than a Bette Davis film? Why, a film with two Bette Davis performances, of course! And this, her first self-produced outing, is a compelling drama with that hoary Forties trope of the good twin/bad twin variety. Reserved artist Kate Bosworth (I know…) goes to visit her cousin Charlie Ruggles at the family’s enormous cottage getaway on Martha’s Vineyard only to fall for lighthouse keeper Glenn Ford, whom Davis ensured to cast. Their cosy dates are usurped by the visit of her identical twin Pat, a confident, glamorous and highly sexed character who masquerades as Kate, steals her beau, marries him and then dies in a boating accident with her twin, after which Kate pretends to be her and discovers the truth about her sister’s life …  This is a brilliant, Grade A  melodrama, a blend of noir, horror and psychology, playing on Davis’ complex duality, all set on open seas, fog-enshrouded cliffs, chi-chi Boston townhouses and an artist’s garret. Davis’ performance as her introverted Self and her own Other  – rumoured to be based on professional nemesis Miriam Hopkins! – is captivating. This was technically a remake, the story having already been made in England before WW2, adapted from the source novel by Karel Benes with Elisabeth Bergner in the lead. But this is very much a Hollywood adaptation by Margaret Buell Wilder and the screenplay came from the practised hand of hit playwright and novelist Catherine Turney, a woman regularly hired by Warner Bros for the films of Davis and her other great rival, Joan Crawford. I’ve written an essay on the subject which you can find here:  http://www.offscreen.com/view/double_life_part1.

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