Dangerous (1935) User Reviews (52)

Bette Davis as a jinx in '30s melodrama

[blanche-2 · 7/10 · 14 October 2005]

Bette Davis plays a down and out actress who believes she curses everyone she becomes involved with in "Dangerous," one of Davis' Oscar-winning performances. It is in this film and the earlier "Of Human Bondage" that the Davis image really solidifies - high energy, strong, smoking, and smokin'. If she seems at times a little over the top, it can be attributed to the acting style of those days, which was a carryover from the stage. What Davis gives is very much a stage performance - with the invention of talkies, the studios raided the theater for actors who could speak, and Bette Davis was among them. Over the years, with the advent of television, acting has become more intimate, more natural, and Davis' complaint about the newer approach was that it can also be boring. She never was.

Davis costars in this film with Franchot Tone, who plays an architect that brings the Davis character out of the gutter, only to find himself face down in it himself. Smooth and classy, he's the type of leading man that one doesn't see anymore, and he's a good romantic lead for her. The lovely Margaret Lindsay is Tone's discarded fiancé, and there's a wonderful performance by Alison Skipworth as Tone's housekeeper.

Davis, of course, draws all of the focus, with the fire in her eyes, the bite in her voice, and those flashes of vulnerability. She was always a fascinating screen presence, and she won't disappoint you in "Dangerous." "Dangerous" is a little bit dated, but what isn't, 70 years later.

Enjoyable drama

[raymond-15 · 7/10 · 25 May 2002]

Bette Davis plays the "femme fatale" as no other actress before or since. Every scene she plays gives us a riveting performance even though at times we may think it a trifle theatrical. In "Dangerous" she plays the role of Joyce Heath, a great actress, yearning for love which is denied to her. Her frantic outbursts make life for those around her difficult to comprehend. Desperate situations require desperate remedies and in a fit of madness Joyce Heath decides to resolve her difficulties in her own dangerous way.

The ending may appear rather glib but the actors themselves give performances not to be missed and Bette Davis is a worthy recipient of an Academy Award.

The Consolation Prize

[bkoganbing · 6/10 · 10 November 2008]

We're it not for the fact that Bette Davis won her first Academy Award in Dangerous, this film would hardly be remembered by anyone except the most ardent Bette Davis fans. There were a number of films that woman carried by sheer force of nature and this is probably the best example of one.

Her character of Joyce Heath is rather obviously based on Jeanne Eagels who was only dead six years and who many had vivid memories of on stage and screen. In fact at one point in the film it's mentioned that a play that Franchot Tone is interested in being the financial backer of could only be played by Bette's character Joyce Heath and Jeanne Eagels.

Franchot Tone is a dapper successful young architect to the rich and famous and he's got a few bucks himself and he's engaged to society débutante Margaret Lindsay. But one fateful night he meets up with Bette Davis who was once big, but is now down and out. She broke many a heart in her day and even she considers herself a jinx to any who get involved with her. That don't stop Tone who hears his hormones calling.

You will not forget Bette as the hedonistic and reckless Joyce Heath, she really dominates this film. Because of that and because there was a big outcry about her not even being nominated the year before for Of Human Bondage, Davis got a nomination and to her surprise got the Oscar for Best Actress.

If the criteria for winning an Oscar is carrying a mediocre film to glory than Bette deserved it. There have been a few times in Academy history that a performance of a star just totally dominates the film, the best examples I can think of besides this is Jose Ferrer is Cyrano DeBergerac and Susan Hayward in I Want To Live. But both Jose and Susan had a whole lot better material to work with.

Even Davis while proud of the Oscar thought the film mediocre, the way Elizabeth Taylor felt about Butterfield 8. Part of the reason is that the Code had come into being. If this film had been made a year or two earlier we would not have had the absolute cop out of a finish.

Still Bette's fans will love it, no doubt.

"A star is born" in reverse

[dbdumonteil · 12 October 2004]

Unlike some users ,I do not consider "Dangerous" one of Davis's best parts.Her career is so rich that you can name at least twenty movies that are far superior to this old hat melodrama:have you heard about " little foxes" "All about Eve" "Now voyager "whatever happened to Baby Jane" and the unfairly unknown "lo scopone scientifico" which might be the most extraordinary part she ever played.

"Dangerous" casts Davis as an alcoholic has been actress ;Tone wants her redemption ,so he sacrifices everything,money and fiancée to make the dream come true.The story is finally terribly sententious ,in "the magnificent obsession" mold ,but without Stahl's "enough is enough" side,which makes that director's works so priceless.

not bad

[KyleFurr2 · 7/10 · 16 October 2005]

This movie was directed by Alfred Green and stars Bette Davis and Franchot Tone. This was Davis's first academy award and was probably given to her because she was passed over the previous year in Of Human Bondage. The movie starts out with Tone engaged to Margaret Lindsay and one night in a bar he sees Davis drinking alone. Tone remembers she once was a great actress but she had some bad luck and is now just a drunk and can't get hired. Tone tries to help her to quit drinking and they become friends. Davis falls in love with him and he loves her too and he wants to get married. Tone's willing to give up everything to be with her but it turns out she's married and her husband won't divorce her. It's a pretty good movie but Davis made some better movies then this one.

Bette Shines in a Corny Melo

[summerfields · 7/10 · 25 October 2007]

Davis is really the only reason to watch this rather mawkish melodrama. The character she plays - Joyce Heath - was possibly modeled on twenties stage sensation Jeanne Eagels. Davis was noted for her electric, kinetic energy by a reviewer of the day who claimed that she would probably have been "burned as a witch" had she lived 300 years priorly.

Bette is particularly fine in the middle of the film, while playing cards with Don Bellows (Franchot Tone) and eating homemade candy; together, they are wonderfully believable and have an interesting chemistry. Notice Alison Skipworth speaking to Tone about women like Davis - who are - in her opinion - indeed dangerous.

It has been said that Bette was infatuated with Tone during the making of this epic and Joan of Crawford shrugged "Oh, I'm afraid that coarse little thing hasn't a chance with my Franchot" The cottage Bellows brings Joyce to in the country is really exquisite; I would like to live in such a place all the time! After about seven different titles, it was Davis who chose "Dangerous"

A decent film, but Bette Davis was right--it was far from her best performance and the film was only a bit better than average

[planktonrules · 7/10 · 4 March 2009]

I had a hard time deciding whether to score this film 6 or 7. Regardless, it's a slightly better than average film that inexplicably earned its star, Bette Davis, an Oscar for Best Actress. While I am a HUGE fan of Ms. Davis' work, she made many films that were better than this and her performance, while generally good, is a bit too melodramatic to have earned this award. As she later said, she felt this award was a way to make it up to her for not even being nominated the year before for OF HUMAN BONDAGE. A few of her better performances were in THE LETTER, LITTLE FOXES, JEZEBEL (for which she DID win another Oscar), DARK VICTORY, NOW VOYAGER and many others. This award was, in the case of DANGEROUS, a gift.

Franchot Tone plays a big-time architect who spots a faded stage star (Davis) who is down and out and nurses her back to health at his country home. Amazingly, her alcoholism seems to vanish in a matter of a day or two and Tone becomes smitten for this rather surly lady--even though RICH and NICE Margaret Lindsay is already engaged to him. Choosing Davis seemed like choosing a McDonald's Happy Meal over A T-Bone steak from the nicest restaurant in town! The film is diverting and interesting but seldom does it seem credible. You just can't imagine a supposedly smart and talented man like Franchot Tone's character throwing his life away so foolishly nor can you imagine Davis' character feeling selfless and driving into the tree towards the end. Both seemed like soap opera, not a serious drama. While these soapy elements are rather exciting, never do they seem remotely like behaviors of supposedly sane individuals. Because of that, the film can never be seen as great or even near great--just entertaining fluff.

Bette Davis is captivating

[Incalculacable · 9/10 · 12 April 2006]

Bette Davis plays a former actress turned low-life drunk in this highly emotional drama. She is convinced she has a 'jinx' on her because she seems to make bad things happen. A wealthy man recognizes her drunk in a bar and takes her to his country house. Sparks fly. The problem - he's engaged.

Dangerous is a terribly beautiful bittersweet tale and Bette Davis carries it off perfectly. When she is in the scene, your eyes are always on her and nothing else. She is a captivating and riveting actress with pure talent. Her acting style is so easy to like.

The story is incredibly realistic and very thoughtful. The script is very good, every line believable.

Dangerous is a truly good movie with moving, touching and believable performances. Bette Davis shines in her role - one of her earlier dramas. I was surprised and very satisfied with the ending. Wonderful movie.

30 years later, this could have been a Ross Hunter film

[vincentlynch-moonoi · 7/10 · 28 February 2014]

I feel bolstered by the fact that quite a few of our reviewers (not to mention reviewers of the era) are not as impressed with this film as are many others.

But, perhaps I'm being unfair to the film. After all, sound films were just beginning to come into their own in terms of sophistication about this time...so maybe it's decent considering the time frame. But this is NOT Bette Davis in her prime just a very few years later. Very good, but not great (and I should mention that I would rate Davis as the very best American female actress).

I would actually give higher marks here to Franchot Tone. I have long thought he was an underrated actor, and this is one of his best roles.

This is very much a Davis-Tone film. The supporting actors are merely plot devices and get little memorable screen time. Margaret Lindsay was good as the "good" woman.

This film reminded of one we might has seen Ross Hunter make 30 years later. Very sudsy, although that's not to say bad. There are a few awkward dialog conversations early on in the film, but as the film progressed that happened less.

Good Davis, fine tone, good film. But not quite good enough to make it onto my DVD shelf.

One of Bette Davis best performances

[FlickJunkie-2 · 10/10 · 15 July 2001]

Bette Davis began appearing in films in 1931 at the age of 23. She was an extremely hard working actor, and by the time she made this film in 1935, she had appeared in 27 films including `Of Human Bondage' for which she received her first Oscar nomination the year before.

The story is compelling. Don Bellows (Franchot Tone) is an architect who claims that his life was changed forever by a theater performance by a young actress named Joyce Heath (Bette Davis) who came to prominence quickly and vanished almost as fast. He was so moved by her performance that he re-evaluated his life and took on a new direction, moving from being a stockbroker to indulge his more creative side by studying architecture. One day he comes upon Joyce Bellows who is stinking drunk. He recognizes her and attempts to engage her in conversation, but she is cruel and derisive. When she passes out, he takes her back to his place to sober her up and care for her. Despite her decrepit condition, he is captivated by her and falls madly in love with her, breaking off his engagement to Gail (Margaret Lindsay).

Don begins the process of rehabilitating Joyce and though she is resentful and bitter at first, she is won over by his devotion to her and agrees to take a part in a play that she always wanted, a play that he used all his money to back. However, Joyce has a secret that dooms the relationship. She is a dangerous woman who ruins the men who love her. The world comes crashing down on her and on the men in her life.

This is a well-crafted story that keeps the viewer intrigued from beginning to end. Davis is electrifying in the role. I consider this and her performance in `All About Eve' (where she also played a bitter actress) to be her best. She throws herself into the role and delivers a performance that ranges from the highest of highs to the lowest of lows. She won her first of two Academy Awards for this film and went on to be nominated a total of 13 times.

This film is a must for anyone interested in Ms. Davis body of work and for the classic film buff in general. I rated it a 10. It is a terrific story that is enhanced by a riveting performance by one of the legends of film.

DANGEROUS (Alfred E. Green, 1935) **1/2

[Bunuel1976 · 6/10 · 9 February 2014]

In the summer of 1991, the local TV station proposed a 13-movie season dedicated to Bette Davis; bafflingly, I only opted to record one of the films – THE GREAT LIE (1941), her surprising rosette in the "Halliwell Film-goer's Companion"! Eventually, I acquired all of the others and have even watched most of them – for the record, with the viewing of this one (even if the copy I ended up with displayed intermittent signs of freezing throughout!), I am only left with BORDERTOWN (1935) and A STOLEN LIFE (1946) to catch up with...

Anyway, it was pure coincidence that I watched this on the same day as the Oscar-winning Katharine Hepburn vehicle MORNING GLORY (1933), since this also landed Davis – herself one of Hollywood's foremost female stars – her first Best Actress nod, and in which she similarly played a stage performer (albeit a washed-up rather than an aspiring one…even if only 27 at the time)! Incidentally, while she gives an undeniably strong performance (ironically, among her competition was Hepburn herself in ALICE ADAMS), the film is perhaps best-known as one of a handful deemed as "consolation prizes", where a particular personality was awarded an Oscar for a less 'noteworthy' role after they failed to win the previous year for what looked like a sure bet: in Davis' case, it was OF HUMAN BONDAGE (where she clamorously even failed to obtain an official nomination), while other such famous examples include James Stewart's triumph in THE PHILADELPHIA STORY (1940) – making up for his loss in MR. SMITH GOES TO WASHINGTON (1939) – and Joan Fontaine's in SUSPICION (1941), as opposed to REBECCA (1940)...a practice, I might add, which continues to this day (compare Russell Crowe's 2000 and Denzel Washington's 2001 wins with the ones they were nominated for in their respective previous year)!

As expected, Davis is the whole show here, but Franchot Tone (himself an Oscar nominee that same year, albeit for MUTINY ON THE BOUNTY) is well cast as her leading man and fresh-faced Margaret Lindsay is somewhat typecast as the "other woman". The star is supposedly a "jinx" – as many who were involved with her met a sad fate – so she is shunned by the profession and consequently hits the skids; Tone (who, apparently, was inspired to seek an artistic vocation after watching Davis at work) sees her at a bar and decides to help. Before long, she practically begins to run his life while showing little to no gratitude; he goes so far as to neglect work and fiancée' over his constant attentions for her! Eventually, she sees the error of her ways, he finds the courage to break off his engagement and even lands her a comeback in the role she had always wanted to play. This being a melodrama, however, things do not quite go as planned: the actress not only 'falls off the wagon' during the rehearsal period due to insecurity, but Tone himself keeps harassing her with a marriage proposal – which cannot be honoured because (unbeknownst to him) she is already married! When her husband, who considers Davis his meal-ticket, refuses to give her a divorce, she decides to take matters into her own hands...

In the end, the film remains eminently watchable for several reasons (not least the recognizable Warner Bros. style) – but, sensibly, it pales beside the performances that would constitute the star's greatest years, which were still ahead of her (1938-1946).

Davis and Tone Shine in Melodrama

[harry-76 · 8/10 · 25 September 2000]

So let her be flamboyant, if she wants to be. She had audiences riveted to their seats in 1935 with this strong performance.

How remarkable today, in 2000, that this 65-year-old portrayl can still hypnotize. It is solid Bette Davis work, with Franchot Tone lending fine support in every scene.

This legendary actress may chew a bit of scenery here and there, but then that's what makes her work so distinctive: here's a real personality, a star, who puts it all out there. She doesn't apologize either. . . just let's it all hang out and, if you like it, fine--if not, tis no big deal. She seems to have been a born actress, too -- with her style the opposite of the Method. Go on and indicate emotion when you're not up to drawing a sincere response. Keep folks wondering where the real Davis begins and the posing one leaves off. You're so good a what you do, you don't need to worry. . . your fans will lap it up anyway.

Which they did, by the millions. Davis was recently voted the number one film actress of the 20th century in a popular poll by moviegoers. That speaks legions about how her work, after all these years, is still regarded. ###

Show Biz Clunker Famous for Bette Davis' Consolation Oscar

[LeonLouisRicci · 6/10 · 11 February 2015]

This is the Performance from Bette Davis that Won Her the first of two Oscars and it has been well Known that She didn't Think that She Deserved it but was Proud anyway. It was a so called "Consolation" Prize for not winning the previous Year.

The Film itself is Not that Good. A passable Romantic Drama with Franchot Tone opposite Davis. It is Contrived and Forced, Bent and Shaped, but Never manages to be highly Engaging. There are Moments where things Kick in but Overall it just Doesn't Click.

Overall, it is Worth a Watch to see what all the Hoopla is about but the Movie is really a Show Biz Clunker about an Alcoholic Stage Star on the Skids and a Love Quadrangle of sorts that is Heavy Handed Nonsense and never manages to be Smooth Enough for anything more than a Passing Consideration.

Davis' rises above trite and soapy story

[kidboots · 5/10 · 11 March 2009]

Apparently Bette Davis said she was "punch drunk" from overwork when she was given "Dangerous", or as it was originally called "Hard Luck Dame" very loosely based on the life of Jeanne Eagels. She also said she had to work like 10 men to make something of the script but work she did, as her performance is the only reason for seeking this film out. To me Davis showed how she could rise above a trite, soapy script with, an at times very intense performance.

Joyce Heath (Bette Davis), once a Broadway comet, has been declared a theatrical jinx - ever since her leading man was killed on opening night. She is now a down and out, occasionally working on vaudeville to keep herself supplied with liquor. Don Bellows (Franchot Tone) is a young man who owes Joyce Heath his destiny. Seeing her as a youth he decided to become an architect. He sees her at a seedy bar and when she passes out he takes her to his farm to recover. Miss Davis certainly has some memorable scenes but definitely it is a film to watch only for her performance.

"I've seen you before" - "which doesn't make us old friends".

With the calm of the country, she begins to dream of a comeback and to put her life in order - on her terms. She also wants Don to fall in love with her, which he does, but Don has a fiancé, Gail, (sweet Margaret Lindsay) that he seems to have forgotten about. He decides to produce the play "But to Die" to give Joyce another chance. He also wants to marry her, but Joyce is not so sure and before opening night her secret is revealed - she is already married!!! Gordon (John Eldrege) has always loved her and even though she has wrecked his life, he will never divorce her. Driving him to the country, she drives into a tree, intending to kill them both.

I actually thought this was a dreary film, definitely not one that I would watch if I wanted to see Miss Davis at her most electrifying.

better then...

[lostngone4ever · 12 February 2000]

A very fast and enjoyable, early Bette Davis movie. She won her first Academy Award nomination and win for this movie, many believe for being overlooked the previous year for her performance in Of Human Bondage. I've seen both and happen to think that the Bondage performance is very overdone (as much as I love her she over acts often) and this performance in Dangerous is deeper and more reserved and yet is still just as riveting, with plenty of scenes for Davis to rip into. Definately worth checking out.

The Actress

[lugonian · 7/10 · 22 January 2017]

DANGEROUS (Warner Brothers, 1935), directed by Alfred E. Green, may not have become an above-average Bette Davis drama by today's standards, but it did become the first of two feature films to win Bette Davis the Academy Award as Best Actress. While Davis' performance as the unsympathetic Mildred in OF HUMAN BONDAGE (RKO Radio, 1934) starring Leslie Howard should have at least earned her a nomination for her standout performance, many claimed Davis got the award for DANGEROUS as an oversight from the earlier film. Regardless of how Davis won for DANGEROUS, it slowly but surely paved the way for better acting roles ahead, and her second Academy Award win for JEZEBEL (1938) and other nominations that were to follow.

DANGEROUS opens in a crowded New York street where Roger Farnsworth (Walter Walter) notices Joyce Heath (Bette Davis) passing by in an alcoholic haze. Going inside for cocktails in a gathering of men consisting of Charles Melton (George Irving), Reed Walsh (William B. Davidson), Don Bellows (Franchot Tone), and later Pitt Hanley (Richard Carle), a discussion occurs to whatever happened to Joyce Heath, a once popular leading actress of the Broadway stage. It is learned that the downward path for this now down-and-out actress started when her leading man died, followed by a series of other unfortunate circumstances to label her a "jinx." Don claims he owes a lot to Joyce Heath for his profession as a successful architect. Later that evening, Dan, along with Gail Armitage (Margaret Lindsay) his socialite fiancée, and close friend, Teddy (Dick Foran) have an evening on the town before Dan has Teddy escort Gail home so he could attend to the drunken Joyce Heath, whom he had noticed earlier in a dive of Jerry's Joint surrounded by an assortment of cheap drinks. After passing out while acting out her role from "Romeo and Juliet," Don takes her to his Old Quinn farmhouse in the country where he and housekeeper, Widow Williams (Alison Skipworth), look after her. Regardless of Mrs. Williams labeling this poor unfortunate girl as "Dangerous," Don does everything in his power to help her, regardless of her outbursts. During the course of time, Don breaks his engagement to Gail so he could spend more time helping Joyce break her "theatrical superstition." He arranges for her to star in "But to Die," an upcoming play for producer, George Sheffield (Pierre Watkin). Dan even finances $80,000 of his own money to do it. All goes well until Dan proposes marriage to Joyce and later finding she being in a serious car accident with a strange man (John Eldredge) reportedly connected to Joyce's mysterious past.

Of the five 1935 film releases to star Bette Davis, DANGEROUS is certainly a worthy offering next to BORDERTOWN opposite Paul Muni. Aside from OF HUMAN BONDAGE, DANGEROUS marked the official start to what would develop into the Bette Davis method of acting. Her opening scene where she denies ever being Joyce Heath remedies that, along with her alcoholic binges that followed. It's no doubt the transformation where her Joyce character realizes her self-destruction and destruction to others around her was enough for honor Davis as being the second actress to win the Academy Award for playing an actress, in this instance, on stage as well as off. Franchot Tone, on loan from assignment from Metro-Goldwyn-Mayer (and second for Warners), Tone sets the tone as one out to help a woman wanting no help from him or anyone. Tone even goes through similar defeats as Leslie Howard did in OF HUMAN BONDAGE where Joyce tells him how she really feels about him, through wording strong enough to cause hard feelings. Aside from the frequent underscoring to the recent song, "Mine, Alone" that was introduced by Everett Marshall in I LIVE FOR LOVE (1935), the scene that stands out most during its 78 minutes is where Joyce drives a speeding automobile into a tree in the middle of a country road in order to settle a score. This highlight alone was later clipped and profiled into a document tribute to Warner Brothers thirties films of "The Movie Crazy Years" (1971).

As with most successful films, DANGEROUS served as the basis for a semi-remake titled SINGAPORE WOMAN (Warner Brothers, 1941) starring Brenda Marshall. As with most remakes, it failed in comparison. Formerly distributed to video cassette and available on DVD, DANGEROUS, which seems to improve with repeated viewings, can be seen and studied whenever broadcast on the Turner Classic Movies cable network. (***)

Breaking Out of Human Bondage

[wes-connors · 6/10 · 9 April 2010]

On the streets of New York, gin-soaked former stage diva Bette Davis (as Joyce Heath) prefers not to be recognized. At the mere mention of her name, charming Franchot Tone (as Don Bellows) recalls how Ms. Davis inspired him to become an architect. Out on a date with socialite fiancée Margaret Lindsay (as Gail Armitage), Mr. Tone sees Ms. Davis drowning her sorrows. He sends Ms. Lindsay home with a friend and introduces himself to Davis by offering her more gin. Davis eventually passes out, and Tone brings her to his home in the country, hoping she will dry-out and consider returning to the stage...

You'll have no trouble figuring out what happens to Davis and Tone, although the script does offer some surprise.

The real mystery is how Davis won an "Academy Award" for this picture. "New York Film Critics" winner Greta Garbo (in "Anna Karenina") and everyone's favorite runner-up Katharine Hepburn (in "Alice Adams") were obviously better. Perhaps, as has been widely reported, the voters underwent mass hysteria over their failure to award Davis "Best Actress" for the much more deserving "Of Human Bondage" (1934). More likely, most "Academy" members finally became fully aware that a truly electrifying new actress had arrived on the scene. In hindsight, Oscar should have had it Davis in '34 and Garbo in '35.

****** Dangerous (12/25/35) Alfred E. Green ~ Bette Davis, Franchot Tone, Margaret Lindsay, Alison Skipworth

See Bette Davis earn her first Best Actress Academy Award

[jacobs-greenwood · 6/10 · 6 December 2016]

Directed by Alfred Green, and written by Laird Doyle, this slightly above average drama features Bette Davis's first Academy Award winning Best Actress performance, on her second consecutive Oscar nomination.

Franchot Tone plays Don Bellows, an architect that has everything going for him. He has a beautiful fiancé Gail (Margaret Lindsay) and he's about to begin a landmark project that will give his name a prominent permanence in New York City. However, while out one evening with Gail and some friends (including polo player Dick Foran), he thinks he sees an actress whose performances had once influenced the direction of his life. Instead of going home with them, he excuses himself in order to see if the drunk woman in the corner of a bar is the aforementioned actress. It was, and so he meets Joyce Heath (Bette Davis), who is used to this sort of embarrassment by now and wants only for him to buy her more drinks. He does, but he also then takes her to his home in the country where he hopes that she will sober up. He enlists the aide of his live-in maid Mrs. Williams (Alison Skipworth), who is naturally concerned but helps her nonetheless. He allows her to stay with Mrs. Williams at his home while he returns to the city.

Joyce does in fact become sober and when Don returns to his country home to visit her again the following weekend, he notices that she has taken up residence. Her story is that she believes she'd become a magnet for bad luck; her previous relationships and acting successes were marred by accidents such that no one would hire her anymore. Nevertheless, Don can't help but be attracted to her. When the weather makes his return to the city impossible, he returns home and she seduces him. The two begin an affair that will end his engagement to Gail who, is more understanding that any normal woman could be expected to be, and seems to believe he'll return to her.

However, Don is so taken with Joyce that decides to produce a play that only an actress of her talent can manage. He finds a producer George Sheffield (Pierre Watkin) who is willing to work with him, and Joyce, despite his misgivings, because Don is willing to invest his project's money. The rehearsals go well and everyone involved is convinced it will be a big success.

On the eve of opening night, Don proposes to Joyce whose reaction is inexplicably, and vehemently, no! We then find out that Joyce is already married, to Gordon (John Eldredge), whom she goes to see seeking a divorce. Gordon was evidently one of those ruined by Joyce, but he clings to the only thing he can still control - the fact that he's still married to her. Realizing that Gordon won't give her the divorce she wants, Joyce pretends to want a reconciliation so that he'll go with her. She then takes him for a wild ride in Don's automobile, which she purposely drives into a tree, hoping to kill him, or even herself given her fate.

Without giving away the results of the car accident, or the rest of the film's plot, suffice it to say that Don has learned to believe that Joyce is/was cursed, given the fact that life's work (e.g. money) was spent for a show that can't possibly open the next day. However, there may yet be redemption in this film's unexpected ending.

The jinx

[jotix100 · 8/10 · 11 October 2005]

Contrary to what another commentator to this forum says, Bette Davis was not nominated the year before for an Oscar for her excellent work in "Of Human Bondage", a much better film than this one. In 1935, the year after being bypassed for the Academy Award, Hollywood, acting in a forgiving manner, gave her the award as Best Actress. By Ms. Davis' own admission, Katherine Hepburn should have won for "Alice Adams".

We are not saying she wasn't worth it, on the contrary, Ms. Davis always gave her best in all her films. Sometimes, contributors to IMDb, upon sending their comments, have a way of predicting that the film they are reviewing, or one of its actors will receive the nomination, or the award come Oscar time. In fact, as it seems to be in most cases, bypassed actors on a particular year get awards for work, later on, for inferior work they did that year and were overlooked by the fickle voting members of that body before.

"Dangerous" was directed by Alfred Green and based on a story by Laird Doyle. The story of an actress who has fallen victim to alcoholism makes good melodrama. As such, Joyce Heath, Ms. Davis' character, is seen at the beginning of the film as a woman who wants to forget it all, in order to do some serious drinking.

Donald Bellows is a man that was deeply impressed by the actress, who he saw as Juliet in the New York stage, and became obsessed by her artistry. When he meets her at the dive where she is drinking cheap liquor, he believes he can save this woman who is wasting her talent. Joyce, eventually, falls in love with Don, but she is reluctant to marry him, which is a puzzle to us. Little do we know about the secret Joyce Heath is hiding from Don, which comes to haunt her at the end of the film.

Bette Davis transforms herself from the opening scenes where she looks disheveled into the glamorous actress of the theater she really is. Her performance is good, but we have seen much better performances by this glorious actress, before this film, and after. Franchot Tone makes an appealing Donald Bellows, the man who tries to save his idol from her addiction to the bottle. Margaret Lindsay plays Gail, who is engaged to be married to Donald.

This is a film that merits a look by all of Bette Davis' fans, as it will not disappoint.

She's more dangerous to herself than others, but she's still definitely a threat.

[mark.waltz · 6/10 · 24 August 2015]

In her first Oscar winning performance, Bette Davis plays Joyce Heath (no relation to Joice Heth, the rumored oldest woman in the world according to P.T. Barnum), an actress who faded out of the spotlight because of an alleged jinx on her and anybody associated with her. Spotted walking down the street, she denies that she's the missing actress, but when handsome Franchot Tone meets her, he sets out to find out who she really is. Broke, homeless and alcoholic, Davis is taken in by Tone who is already engaged to the lovely Margaret Lindsay, but his fascination with Heath becomes an obsession. Tone's sweet housekeeper (Alison Skipworth) surprisingly asks no questions, simply accepting Davis's presence without any judgments. However, when Tone realizes that he has to break it off with Davis, he gets a tongue-lashing from her that brings out a side of her personality that he was unaware that existed. This neurotic explosion brings out more to her than he could ever realize, made more difficult by the fact that he's helping her stage a come-back.

If this film is remotely memorable for any reason, it's the fact that it actually appears to be better than it really is. That's because Davis, in the first real meaty role that Warner Brothers had given her during her long stay there, turns beef stew into prime rib. She had gotten great critical acclaim for her role as the cockney waitress Mildred the year before on loan to RKO for "Of Human Bondage" and there was a great deal of controversy over her not even being nominated for an Oscar. In fact, only three actresses were even nominated that year, so there was a write-in slot on the ballot to diminish the over-site. Even though Claudette Colbert ended up winning, this was still a victory of sorts for Davis, because Warner Brothers really began to take her seriously.

"Dangerous" isn't a great film by any means, but her detail of putting the characterization together makes it seem so much better. Her explosion at Tone ("You delight me!") is basically a re-tread (without cockney accent) of what she had done in telling off Leslie Howard the year before. Ironically, Tone was involved with Joan Crawford at the time, and apparently Davis had a crush on him, so this is where the rumors of a Crawford/Davis rivalry began even though they really had no encounters all that much until years later at the Hollywood Canteen. Skipworth is quite good, while Lindsay has one key scene where she explains as to why she can't marry Tone while the thoughts of Davis are so key in his head. This is one of the first films where I saw how much Davis resembled a young Meryl Streep (or vice versa), an ironic thought considering their controlling of women's parts as they got older and both their status in the history of Hollywood today. Without Davis's participation, it is obvious that "Dangerous" would be an afterthought today, but with her, it rises above what it would be with a different leading lady. Certainly with this, a legendary star was born and on her way to film immortality.

Great Performance of Bette Davis

[claudio_carvalho · 8/10 · 2 November 2013]

The aristocratic architect Don Bellows (Franchot Tone) worships the former successful actress Joyce Heath (Bette Davis), who prematurely left the stage considered a jinx, for changing his life for better. When Don goes with his fiancée Gail Armitage (Margaret Lindsay) and a friend to a bar, he sees Joyce completely drunken and penniless, and he takes her to his house in the countryside. Joyce stays there for a period in rehabilitation, and Don falls in love with her and calls off his engagement with Gail. Don also decides to produce a play for her and to get married with Joyce after the opening night. But Joyce has a secret in her past that will affect their lives forever.

"Dangerous" is a melodramatic movie with a great story but a corny conclusion, with Joyce Heath returning to her crippled husband. Bette Davis has a great performance and won her first Oscar of Best Actress. My vote is eight.

Title (Brazil): "Perigosa" ("Dangerous")

all about Bette

[SnoopyStyle · 7/10 · 6 March 2023]

Former actress Joyce Heath (Bette Davis) is a fallen woman. A group of men recalls her rising stardom and her drunken fall. Don Bellows is a star architect engaged to wealthy Gail Armitage. He feel obligated to help Joyce who was once his inspiration. He ends up falling for her and breaks up with Gail.

This is all about Bette Davis. She's both the rising and the fallen star. She's able to do both at the same time. Sometimes, she does go overboard, but it's hard to see anyone else doing as good of a job. She does win the acting Oscar although she has done better. There isn't much to the story. It's a melodrama. This is a must for all her fans.

Don't leave the past behind just leave it for the better

[sol-kay · 8/10 · 23 October 2005]

(Some Spoilers) Generally accepted by everyone for getting the Academy Award in 1935 for "Dangerous". To make up for her being denied it in 1934 as waitress Mildred Rogers in the Sumerset Maugham classic "Of human Bondage". Bette Davis' performance as the down and out former Broadway actress Joyce Heath could have easily have won her that coveted award. Even without the Acadamy's member feeling guilty for not giving it to her the year before.

In some cheap gin joint Joyce is spotted by socialite architect Donald "Don" Berrows, Franchot Tone, who's out painting the town red and green with his fiancée the beautiful and blue-blooded Gail Armitage, Margaret Lindsay, and his friend Ted, Dick Foran. Telling the two that he has to take care of some pressing business Don goes to see Joyce and, after buying her a drink, tells her what an impact she made on his life after he first saw her in a play some five years ago. Joyce had convinced Don to go into a life of creativity, architecture, just by seeing her stunning and creative performance on the theater stage.

Taking Joyce to his country home to dry out Don falls in love with her which causes him to worry about his upcoming marriage to Gail, whom he feels he's cheating on. Breaking the truth to Gail about his and Joyce's feelings for each other and how even if he breaks up with her, which he fully intended to do,it would never be the same between them. Gail hurt and upset gives Don back his engagement ring and calls it,their upcoming marriage,quits.

In an effort to revive Joyce's career Don get's Broadway producer George Sheffield, Pierre Watkin, to direct the play "But to Die" which Joyce was to star in. Don in turn puts up $80,000.00 of his own money to finance the play. With Joyce back in top form opening night looks like it would be a complete success but there's one thing that she didn't tell Don about her past. Something that will later come back to haunt her and that's that she can never marry him! Joyce is already married and her husband Gordon ,Alison Skipworth, the man who's career she destroyed will never give her a divorce! The only way Joyce can get him out of being married to her is like the saying goes :"Untill Death do Us Part".

Bette Davis' performance in "Dangerous" lifts up the movie far above the soap-opera that it's script would have made it with a lesser talented actress. The fine supporting cast also greatly helps Miss.Davis pull the whole thing off successfully. The ending of "Dangerous"is nowhere as predictable as you would have thought in a, at first sight, predictable movie. Joyce seeing the light and instead of hurting the two men in her life, Don & Gordon, uses her selfish destructive and unfeeling personality ,for the very last time, that in a strange twist of fate straightened out all the loose ends in the movie.

It was that decision on Joyce's brought that her back to the life that she discarded so long ago, that she thought she'll never have again.

Dangerous review

[JoeytheBrit · 6/10 · 20 April 2020]

An engaged architect Falls for an alcoholic actress n the skids. Expertly produced '30s romantic potboiler that's weakened by its tendency to gloss over the realities of the situation (Davis's character is one of cinema's least convincing recovering alcoholics), an inconsistent hero, and a weak ending.

Davis' Movie All the Way

[nycritic · 5/10 · 4 May 2006]

Even in 1935, DANGEROUS was considered a lousy film, but it began the tradition Hollywood has of awarding actors who were ignored the previous year with the golden statuette. Bette Davis, a year after her standout (if imperfect, as it now is considered a furious but over the top) performance in OF HUMAN BONDAGE, made this film and time has proved her right: even in a sub-par movie, she is the only reason to watch it. Less flighty, but still quite close to Mildred Rogers, Joyce Heath is one of those women that need a quick reality check in order to bring them back to Earth. At the start of the movie, she is this washed-up actress who's taken to drinking herself into a near coma and is practically panting in self-hatred. Why, well: she states that she's bad luck, that she's no good, that she is, essentially, Damaged Goods. Does Franchot Tone believe it once he shows up? Not really. He's decided to Help Her Get Back On Her Feet, and that he does, granting Davis first a chance to chew him to bits in a Mildred Rogers type scene, then to confess just how she loves him and will act in a play she's been eyeballing for some time. They make quite a good pair, though, and it's rumored that he's the reason Davis and Crawford decided that they didn't quite like each other after all. For once, Davis doesn't out-shine her leading man as he, even in this sort of too-good-to-be-true kind of guy, manages to stand on his own. A late twist in DANGEROUS doesn't quite work as much as to leave Tone and Davis hanging and in a "doomed relationship" situation, but it's really secondary even when John Eldridge, playing Davis' slacker husband who won't grant her a divorce, is creepy but brief. There is a brief moment reminiscent of ALL ABOUT EVE as well, with Davis as Joyce Heath rehearsing a role for a play that will be her comeback vehicle. All in all, a must for Davis fans, but pretty colorless all the way through.