The Great Lie (1941) User Reviews (62)

Pay no attention to the plot, just enjoy yourself.

[blanche-2 · 8/10 · 15 March 2009]

For many fans of classic films, this is a fun favorite, mainly because of the performances of Bette Davis as Maggie and Mary Astor as Sandra. George Brent plays a playboy, Pete, who marries concert pianist Sandra, only to find out a few days later that her divorce wasn't final. Apparently (though this isn't explained) he was involved with Maggie shortly before, but she refused to marry him because he's a drunk. However, she does marry him.

There's a problem, though, which is that Sandra turns up pregnant. Then Pete is missing in Brazil somewhere and is believed dead. Maggie talks Sandra into having the baby and letting her and Brent raise it, in exchange for supporting Sandra financially, and she can continue with her concert career unfettered. The two go to a cabin in Arizona where Sandra, a big drinker with other lousy habits, can be supervised.

Well, it's pretty hilarious and only gets better. Davis and Astor give as good as they get to each other, with Sandra screaming that she's an artist who can't get nourishment from a lettuce leaf, and Maggie offering to make her a sandwich. And we all know what happens - Sandra is a nasty you know what and reneges big time.

This is truly a wonderful movie for some reason - actors in those days were able to make you believe anything and go right along with it, and take the plight of the characters seriously. This is probably because the stories were character-driven and audiences invested in the people and therefore bought the story.

Well-directed by Edmund Goulding, the performances are wonderful from the women, Davis, Astor, and Hattie McDaniel as Maggie's maid, who again proves her strong acting abilities. Brent, who made a career out of supporting these huge female stars, is good.

Can't beat this one for entertainment.

Forget that the story itself is nearly impossible--this is an excellent and highly entertaining film

[planktonrules · 8/10 · 9 February 2008]

While this does not rank among the very best of Bette Davis' films, it is exceptional and extremely entertaining. The reason it doesn't quite make it to the heights of the great movies such as LITTLE FOXES or ALL ABOUT EVE is that the plot, though interesting, is so impossible that if you really stop and think about it, it all makes very little sense. However, provided you are not a close-minded curmudgeon (I, myself am an open-minded curmudgeon), then forgetting about the impossibilities isn't an issue and you can sit back and love this film.

The film begins with George Brent eloping with Mary Astor. After they both sober up, Brent can't help but notice that Astor is a highly strung and demanding....um...diva (I'm trying to keep this review family-friendly). That same sober morning, Brent is told that the marriage is not legal, as Astor's divorce decree isn't yet final, so they'll have to remarry. Fortunately, the guy realizes that Astor is a baby-eating monster and leaves--back into the arms of his ex-fiancé, Bette Davis.

Davis had been terribly wronged by Brent, as they were STILL engaged when Brent eloped with Astor. However, Brent is super apologetic and convinces her to marry him--after all, the marriage to Astor wasn't legal.

Shortly after this, Brent is killed while on government business in Brazil. Davis is sad, but things get really interesting when she learns that Brent's one night "marriage" to Astor has resulted in pregnancy!! Astor, however, has all the maternal instincts of a hamster, so Davis convinces her to take the baby to term and then give it to her to raise--after all, she'd love to have Brent's baby. While never said, it was implied that if Davis hadn't made this deal to finance the baby's birth, then Astor would have probably gotten an illegal abortion.

During the months living all alone with Davis, Astor is quickly going stir-crazy. However, if she has the baby, she must keep it a secret or it might harm her musical career (after all, this was the 1940s). Plus, Davis intends to return home and tell everyone it is her biological child--or at least let them think this. This portion of the film is probably the most interesting, as Astor goes from being selfish and mean to being like Davis' character in the film WHATEVER HAPPENED TO BABY JANE?--but only meaner and grumpier!! Astor's part allows her to scream, yell, nearly burn down their cabin and run amok with wild abandon. This ain't exactly intellectual fare, but wow is it fun to watch as it unfolds!! It was really interesting that in this film, Davis is in control and sweet and Astor is the Devil's daughter (well, practically Satan's kid--she's THAT selfish and cruel).

After the baby is born, as agreed Astor splits and leaves the baby with Davis--showing no second thoughts or concerns for the kid. However, when out of the blue, Brent is discovered alive in the Amazonian jungle, Astor sees her chance to return to not only bust up the marriage, but take the child AND Brent for herself. This leads to a very satisfying conclusion that practically brought this old grouch to tears.

As I said above, there are so many impossible situations piled on top of each other that the plot is all but ridiculous. But, with amazing dial dialog, acting and very, very smooth direction and production, this couldn't help but be a great film. A must-see for old movie buffs.

Well constructed, fast, soap opera plot film, wonderful escapism.

[secondtake · 8/10 · 26 February 2010]

The Great Lie (1941)

This is really a fabulous mixture of great movie themes, and it pulls it together to make its own amazing statement about fidelity and love. And class. And pre-war America, seemingly isolated but actually trapped by world events.

Within ten minutes there is first an echo of My Man Godfrey (George Brent in this case making a more mainstream Powell) and then a swoop down for a taste of Gone with the Wind or even closer, Jezebel (the plantation south, even though it's 1940 or so). Then it's a melodrama straight up, and tragedy, and even if the plot is improbable, you go with it and get swept away.

Brent plays Pete, a man caught between two women, both of money, but one cosmopolitan and used to being in charge, and one a lively, warm woman living a more earthy life. At the start it seems Pete is married to the urbane one, a concert pianist, Sandra, played with typical poise and ice by Mary Astor (compare this to her more famous role in The Maltese Falcon from the same year). She's a professional woman, in charge of her life, and, lately, Pete's. She wants independence and culture, and man with his feet on the ground.

But Brent's country girl, an ex-love (and true love, it seems) Maggie is played to perfection by Bette Davis. The music here, and the support cast is African American, which makes for a more heart warming, and wrenching, background. He pays a visit to Maggie the day after his wedding (for reasons that slowly clarify) and the dynamic is set. And the twists begin. We have a contemporary drama between recognizable stereotypes as World War II looms for the U.S.

Early on, Sandra asks Pete after his visit to Maggie, "Did you get it?" He says, "What?" Sexual innuendo intact, the Hays code chaffing, she clarifies, "The air?" What a great simple example of how movies so often played brilliantly with innuendo because the code wouldn't allow a straighter interplay.

Director Edmund Goulding is not as well known as some of his contemporaries, but he has a few masterpieces in his lot, including the Bette Davis Dark Victory and the later Razor's Edge. For me, The Great Lie is maybe short of perfect--the plot does intrude on our sense of suspending disbelief--but it's really fast, moving, well written, and well directed. No question.

The truth is, "Lie" is a great watch!

[Poseidon-3 · 31 May 2006]

Davis is legendary for her quarrels with fellow leading ladies. She went two rounds with Miriam Hopkins and almost went two rounds with Joan Crawford before nudging her out of their second film. She also went to the mat with Faye Dunaway and Susan Hayward. However, at least two actresses had quite favorable working relationships with her. One was Olivia de Havilland, who worked with Davis several times, and another was Astor, who in this film got a showy, meaty role as a spoiled, unmitigated bitch who battles Davis for the love (and later, the child) of Brent. The film opens with aviator Brent and concert pianist Astor having partied for days following their quickie wedding. Once the booze has worn off, and after an eventful visit to his lawyer, Brent wonders if he's done the right thing and flies down to Davis' homestead. She is his first, and true, love, but her tendency towards nagging him about his drinking and his lifestyle had managed to wear him out. Eventually, a technicality renders Brent's marriage to Astor illegal, paving the way for Davis to get her man. However, Brent goes missing on one of his flights and a despondent Davis finds herself having to contend with Astor for an extended period of time. The fateful decision the two of them make (the "great lie" of the title) comes back to haunt Davis in the final reel with Astor making her life miserable, dangling entendres before her in a form of emotional blackmail. Davis, who'd been alternately portraying bad girls and suffering heroines in a string of prior films, chose to take the more earnest and genial role here. However, she generously aided in making Astor's showier role even more prominent than it originally had been, all for the good of the film. The fireworks between these ladies are remarkable with the sophisticated and shrewy Astor frequently baiting the comparatively naive and gentle Davis. (Note the way Davis' hats and clothing become more and more chic as the film progresses, reflecting her increasing assurance and self-esteem.) The women's animosity reaches a fever-pitch in one scene with Astor going berserk and up-ending a table! Davis is sometimes noted as dull in this film, but that's a far from accurate diagnosis. She rarely, if ever, phoned in a performance and her gears are always clearly turning here. She and Brent strike up more chemistry than in practically any other of their many film teamings and she offers up personality and amiability to spare. The audience is squarely in her corner by the end. Astor, sporting her astonishingly chic boyish haircut and wearing some striking gowns, is in rare form. She doesn't just play the piano, she PLAYS THE PIANO and brings a fiery determination to her role (which isn't devoid of charm either. Witness her playful scenes with Brent at the beginning.) Brent is more animated than in some of his other works, though it's really the ladies' show here. Also on hand is the ever-delightful and entertaining presence of McDaniel as Davis' staunchly-devoted maid. There's an odd sort of deep-south flavor to the Davis household (which is set in Maryland!) and which may offend audiences who disapprove of the stereotypical representation of blacks in classic film, but, in truth, McDaniel is so enjoyable and the young male soloist in one scene is so remarkable, it should be somewhat easier to digest as a result. This is the way things were in Hollywood then and all one can do is learn from it and try to glean something worthwhile from it. Director Goulding, having survived Davis and Miriam Hopkins in "The Old Maid" surely had an easier time of it here with the ladies getting on so famously, though Davis did rather take over, rewriting and embellishing the story as she deemed fit.

Competent Melodrama

[harry-76 · 7/10 · 10 March 2000]

"The Great Lie" provides an example of what the Warner

Bros. stock company could produce during the early 40s.

Bette Davis is her usual strong character, George Brent

his standard wooden but creditable personality, and Mary

Astor in a surprisingly fiery turn, is a performance which

contributes a winning balance.

The best scenes are confrontations and interactions between Davis and Astor, and they play the dramatics for

all they're worth.

It's an entertaining film, with an array of fine character

actors (including scene-stealing Hattie McDaniel) to bolster the proceedings. Max Steiner's score is on hand to

add atmosphere to the action.

The quintessential Warner Bros melodrama.

[David-240 · 10/10 · 6 January 2010]

To my mind this film is perfect - a classic example of what the studio system of the golden years of Hollywood could achieve. Strong direction, witty dialogue, beautiful music, sublime cinematography, crisp editing, gorgeous production design and costuming, brilliant performances - every element of this film is perfect.

Add to all that the daring (for its day) story-line, Bette Davis at the height of her dramatic powers and at her most beautiful, and Mary Astor delivering what I think is one of the great screen performances of all time, and you have a very special film indeed.

Although the film may seem to have dated elements, especially in the depiction of the African-American characters, if you let yourself watch the film with 1941 eyes you will be richly rewarded. Besides which the wonderful Hattie McDaniel brings so much depth to what could have been a simple stereotype.

As you can tell, I love this film. I understand Bette Davis and Mary Astor loved working together - and you can see that on the screen. The scenes between the two of them are electric, with so much being said beyond the words. Thank God Astor won an Oscar for her work here. She truly deserved it.

The rivals

[jotix100 · 7/10 · 8 May 2007]

"The Great Lie", the 1941 movie vehicle for Bette Davis, offers a great opportunity for watching the actress playing opposite another excellent film actress: Mary Astor. Director Edmund Goulding must have had his hands full in the set of this film directing two strong personalities such as Ms. Davis and Ms. Astor.

The film adaptation by Lenore Coffee was typical of the melodramas in which Bette Davis appeared. It helps that Max Steiner was on hand to lend his musical expertize, giving it another rich layer of texture to this story of two women trying to assert themselves and getting the handsome man they loved in their own peculiar ways.

The surprise of "The Great Lie" is Mary Astor. She almost "steals" the film from Bette Davis. Ms. Astor, who had a great film career, was a classy actress who was always a welcomed addition to the movies in which she appeared. As Sandra Kovcha, she goes through a range of emotions that displays her talents for all to see.

Bette Davis gives also a good performance in the role of a good woman who sees the opportunity of raising a child of another woman as her own. George Brent plays the love interest of the two stars; his virile presence is an asset for the film. Some of Warner Brothers character actors of the stature of Lucille Watson, Hattie McDaniels, and Grant Mitchell, among others, do excellent work in supporting the principals.

Thanks to TCM, this forgotten film was seen recently. We are lucky having the opportunity of watching these long forgotten films that are classics of the American cinema.l

the great film

[RanchoTuVu · 10/10 · 2 August 2006]

An amazing unfolding story that arises out of a ridiculously implausible plot that nevertheless is a classic film. Who needs a plot anyway when you have Mary Astor and Bette Davis fighting over the quietly cool George Brent? Throw in an unexpected pregnancy and a trip to the Arizona desert to keep the mother from having a miscarriage due to her bad habits, with boredom, sand storms, and endless cigarettes. The way it sounds is not at all like the impact it produces. There's one point in the film's second half when people might be thinking that it would be a good place to end the film, keeping the lie intact. But Edmund Goulding makes the absolute most of what follows, hitting the real ending with power and precision.

Like Sands Through Their Hourglass....

[mark.waltz · 7/10 · 19 January 2013]

This is one of those women's films that you have to suspend disbelief and simply enjoy. The chemistry between the two female stars (Bette Davis and Mary Astor) is so powerful, and what is nice here is that the two stars got along famously; In fact, Davis handed the juice over to Astor (a veteran star since the 1920's) on a silver platter, and the result is so much more interesting than if Davis had played the scheming role and Astor the heroine. You know you're in for a good time when Astor offers Davis a cigarette and Davis declines, saying that she's just had one.

The storyline concerns government worker George Brent's drunken marriage to classic pianist Mary Astor that ends as quickly as it began because he finds out her previous divorce was not final. Brent should have been forewarned; One character describes Astor as quite striking; In fact, she is literally. She has no qualms in slapping her masseuse across the face for working on her sore arms too hard. Once sobered up, Brent decides he'd rather be with the kinder Davis, and they are wed, which sets Astor up for revenge. She vows she'll break them up, and announces to Davis while Brent is away on business that she is pregnant. But Brent is believed to be dead, and Davis steps in with a plan to give the baby a name. The only stipulation is that Davis will raise it, and Astor will make no claims. But like a bad penny, Brent turns up, and Davis fears all will be revealed, especially when Astor goes out of her way to bond with the now one year old child.

Fiery Astor is the entire show, and watching the battle of bitchy Mary and benevolent Bette, you are truly gripped. The silliness of Astor and Davis in the middle of a desert preparing for Astor to give birth is like Henry Fonda pushing Lucille Ball to Florida in a wheelchair in "The Big Street", but somehow, it all becomes palatable, and the ridiculousness of it actually makes it more fun. Toss in Astor beating out a beautiful classic tune on the piano (Tchaikovsky's "Piano Concerto No.1 in B flat minor, Op. 23"), a sudden musical number sung by Hattie McDaniel and the servants on Davis's ranch and the scene where Astor goes crazy in the desert, practically destroying the shack the two are staying in, and you have one of the most memorable melodramas of the 1940's, a soap opera plot that has been repeated over and over on daytime television. Lucile Watson, Grant Mitchell and Thurston Hall offer amusing bit performances, while McDaniel seems to be playing the wife of her real-life brother, Sam McDaniel. This isn't a classic like "Now Voyager", but it's all unpretentious and fun, and that's what classic Hollywood cinema is all about.

The Actors Make This Credible

[ldeangelis-75708 · 8/10 · 8 February 2023]

Though some may say the plot's too far-fetched, I say what Hollywood story isn't, to some extend or another? Even so-called bio pics stretch and bend the truth. Anyway, when you have actors that give great performances, and keep the drama from becoming melodrama, and make the implausible seem plausible, and keep your attention to the end, well, what the heck?

Mary Astor gets to show off her musical talent, as concert pianist Sandra Kovak, who married Peter Van Allen (George Brent) after a drunken whirlwind fling (and while he was rebounding from his breakup with Maggie Petersen, played by Bette Davis), only to discover her divorce from her previous husband wasn't final yet. When Peter's offer to marry her for real (and sober) this time is rejected in favor of her planned concert tour, they break up, and he realizes his heart still belongs to Maggie. Soon, they're back together and married, but they haven't heard the last of Sandra.

There's a lot of soap opera elements here: a baby, a presumed death, a bargain, a lie, a threat, a confession, and a lot of entertainment.

And as a bonus, there's Hattie McDaniel as Violet.

This is also the movie that gave rise to the idea that Bette spoke a ridiculous line, where she repeated the name "Peter, Peter, Peter!" Actually, she said the name "Pete" twice, while thinking wistfully of her husband. And it was spoken with melancholy, not in rapid-fire succession, like a stuck record needle.

For that alone, the film's worth watching, though the story will keep you entertained.

Couldn't be more bizarre if it tried with both hands

[klg19 · 6/10 · 8 September 2005]

Jeanine Basinger, in her wonderful book "A woman's view: how Hollywood spoke to women, 1930-1960," spends three pages analyzing this strange brew of a film, which centers on what Basinger refers to as "one of the great crackpot deals." Alcoholic playboy Brent wakes up after a 3-day wedding binge with concert pianist Astor to discover their marriage is invalid: Astor had mixed up her divorce decree dates, and she was still legally married to her first husband. For reasons unclear, this makes Brent fly down to see old friend Davis, who is attended to by Hattie McDaniel in a role that out-Mammies Mammy from "Gone with the Wind." We learn that Davis, though in love with Brent, has refused to marry him because of his drunkenness--she doesn't want to be a nagging mother of a wife to him. Brent returns to Astor, saying he'll marry her on the day her divorce is final, but she is adamant about playing a concert in Philly that day.

So Brent marries Davis instead. Not long after their wedding, Astor tells Davis she's pregnant. Not long after that, Brent flies off on some mysterious mission over Brazil, and disappears, feared dead. This is where the crackpot deal comes in: Davis convinces Astor to give birth to Brent's baby and turn it over to Davis, who will support Astor financially in exchange. Astor, astonishingly, agrees.

This gives Davis the chance to be a nagging mother of a wife to Astor, in a shack in Arizona that serves as a birthing room, culminating in a marvelous bitch-fest as Astor rebels against Davis' control. It also gives Davis a chance to play expectant papa, pacing up and down in her jodhpurs as Astor gives birth. Very strange gender role mixing here! Brent, of course, is found, only slightly grayer at the temples, and Davis allows him to assume the baby is theirs--not such a Great Lie, really, but a lie. But when Astor discovers that Brent is alive, she decides she wants the baby back, thinking it will get her Brent as well. Who will he choose?

Brent is much less wooden than usual in this film; in fact, he's almost delightful in the opening scenes. Davis and Astor are simply tremendous, Davis having asked that Astor's part be built up from its minor role in the original story. Lubitsch had suggested Astor for the role, and Davis was thrilled with the choice. Astor takes the ball she's been given and runs with it, chewing scenery right left and sideways. Davis is...well, she's Davis, and that's never a bad thing.

Astor makes a surprisingly convincing concert pianist, although she did not do her own playing, nor did the keyboard close-ups use her hands. Brent, a licensed pilot, actually did do his own takeoffs and landings.

Basically, the film is insane and implausible and ridiculous, although lord knows it did work within the framework that Hollywood had created. If you willingly suspend your disbelief and your understanding of human nature, you can sit back and enjoy a surreal romp.

Truly A Great Film Classic

[whpratt1 · 10/10 · 30 August 2007]

Betty Davis, (Maggie Patterson Van Allen) was a very wealthy young woman who was very much in love with a man named Pete who liked to drink and got married to a woman named Sandra Kovack, (Mary Astor). However, Sandra was not really divorced from her first husband and therefore her marriage to Pete was unlawful. Sandra & Pete confront each other and decide to get married once again, but Pete decides he really loves Maggie Patterson and makes her his bride and they are very happy together. Sandra Kovack is an accomplished pianist and is well known through out the world for her great performances. There is an event that happens between Maggie Patterson Van Allen and Sandra Kovack which turns this film in a different direction that causes many problems and will turn into one Great Lie. Great acting by Hattie McDaniel, (Violet) who gave a great supporting role to these great veteran actors. Don't miss this film, it is truly a great film classic from 1941.

Supreme soap opera of lies and deceit

[sabby · 7/10 · 27 March 1999]

Bette Davis and Mary Astor take place in one of filmdoms greatest bitch-fests, The sappy sweet Davis and obnoxious concert pianist Astor both love the same man(George Brent). He goes back and forth between them. Slick and soapy, the performances are great and Astor walked away with an Oscar. Great classical score, too.

Mary Astor's Triumph

[mukava991 · 5/10 · 31 August 2007]

The chief reason to watch this highly implausible melodrama is the bravura supporting performance of the stunning Mary Astor, ably abetted by Bette Davis, the lead actress, both at their cinematic peaks. Astor plays a passionate but emotionally fickle concert pianist with lusty appetites who battles decent and simple Bette for the affections of George Brent. No need to detail the plot about one woman persuading another to give up her baby. Suffice it to say that whenever these two powerhouse actresses occupy the screen, especially together, the viewer can accept anything. Outstanding is a sequence shot at least in part on location in the desert where the battling ladies reach a climax of sorts in their emotional duel. It is said that the two performers rewrote some of Lenore Coffee's script to spike it up; if so, they succeeded brilliantly. Their contrasting natures - physically, vocally, emotionally and, thanks to wise costume design, sartorially - make them an exciting and volatile combination. Astor has never been more ravishing and even Davis photographs unusually well in many scenes. The always entertaining Hattie McDaniel and Lucile Watson are on hand as the maid and a matronly aunt, respectively, though they do nothing here they haven't done better elsewhere. Astor, in addition to her expert histrionics, is said to have actually played – as opposed to faking - classical piano pieces throughout, adding substance, emotional coloring and much-needed authenticity. If she was faking, then it was dazzling fakery!

the judgment of Solomon

[dbdumonteil · 27 June 2007]

"The great lie" ,although not as exciting as "the old maid" or "the razor's edge" ,is another worthwhile Davis melodrama.Its first part is the weakest : almost nothing happens and the depictions of the lives of Davis ,with her servant Hattie -Mammy- McDaniel ,and of Astor, a famous pianist drag on.

The movie hits its stride in its second part where Davis and Astor hide the child's birth.The howling wind,the isolated place,and the hatred the two women feel for each other is a good example of claustrophobia (Astor's nervous breakdown is impressive).

The third part is equally good.All smile Astor comes back ("Am I intruding?" "Of course you ain't " Davis could ironically answer)and in a voice full of hidden meanings only her enemy can understand,she begins to destroy Davis's home.Best picture is probably the scene when Astor has a go on a swing with the child after noticing that "he's already a musician.

They say Bette Davis wanted to play opposite Mary Astor .She got her wish and their acting is excellent.

Overblown but good soap opera

[preppy-3 · 7/10 · 13 September 2005]

A rich woman Maggie (Bette Davis) is in love with Peter Van Allen (George Brent) who is married to famous concert pianist Sandra Kovak (Mary Astor). Them Van Allen finds out his marriage to Kovak isn't legal--they got married before her divorce was final. So he marries Maggie which infuriates Kovak. Then Kovak discovers she's pregnant and Van Allen disappears when his plane crashes in the jungle...

As you can see this is more than a little silly. The above plot just covers the first 30 minutes or so--the story gets even more ridiculous. This is wildly overly melodramatic and has an ending where reality totally disappears, but production values, music and performances pull it over.

It was lushly made (Warners Brothers spared no expense on this one) and there's some great music here--LOVE the piano solos that Astor is supposedly playing. Brent is good in his role--handsome and intelligent. Davis is (as always) good--she ALMOST overdoes it but is pulled back. Astor is GREAT--she deservedly won a Best Supporting Actress Oscar for this. She takes her role and runs with it--she's playing an almost totally evil, self-absorbed woman and enjoys it.

So it IS silly but worth seeing. I watched the film with a smirk on my face the whole time but I DID keep watching. I give it a 7.

She Had To Go And Lose It With The Astor

[writers_reign · 8/10 · 27 October 2015]

George Brent was certainly putting it about in the late thirties/early forties; In The Old Maid he knocked up Bette Davis and in The Great Lie he knocked up Mary Astor and in each case it led to deception. In this case concert pianist Astor is not too bothered about motherhood and is happy to more or less 'sell' the baby to Davis, who genuinely loved George Brent, missing presumed dead. Of course when he turns up considerably later Astor has second thoughts and makes a bid for both Brent AND the baby. As you and I know however you don't mess with Davis but along the way you do get both a great lie and a great movie because, as someone has said elsewhere, Davis thrived playing opposite strong actresses such as Crawford and Astor - who deservedly won an a major Award for this role.

Mary Astor's Pinnacle Year

[bkoganbing · 6/10 · 11 May 2008]

The Great Lie in its own way is quite daring for the time. There were not too many films in which motherhood was seen as a burden rather than a sacred obligation. In that sense Warner Brothers was taking quite a chance with this film.

The one thing I don't understand is Bette Davis taking the role of the noble one in the triangle that involves her with George Brent and Mary Astor. Astor's part is clearly the showier one which she proved by taking home the Best Supporting Actress for 1941. Perhaps it was simply a matter of screen time and that Davis was not going to be in support of anyone.

Be that as it may, The Great Lie involves a possible lie to come when a certain infant comes of age. George Brent's got both these women on the string. He marries Mary Astor who is a renowned concert pianist in a whirlwind courtship as soon as the ink on her divorce became dry.

Turns out it wasn't quite that dry yet. But nature taking its course Astor gets pregnant. But before she and we find that out, Brent whose marriage to Astor was technically invalid runs off with Davis who's a member of the rich Maryland horsey set.

Later on Brent goes missing in a plane crash in the Amazon rain forest and Davis comes up with a marvelous proposition. If Astor will give up the kid when it's born, she'll raise it as her own. Astor who is career minded to the last exponential degree agrees to this until Brent finds his way out of the rain forest.

The Great Lie is one potboiler melodrama which is lifted above its worth by these two women. Davis does what she can with the part, though I think she would have been better as the pianist. But Mary Astor just dominates the film. Her performance is the best thing by far in The Great Lie. This was the pinnacle year in Mary Astor's career. She also co-starred in 1941 in her best known screen part, that of Brigid O'Shaunessy in The Maltese Falcon.

Given the mores of the time there are only certain directions this plot can take. The Great Lie would be one great flop, but for Bette and Mary. See it for them.

No fury like that of a woman scorned

[AlsExGal · 9/10 · 15 May 2016]

This one hits all of the right notes, is perfectly paced, and perfectly performed and directed.

Maggie (Bette Davis) and Pete (George Brent) are engaged or at least have an understanding. However, pianist Sandra (Mary Astor) has her eye on Pete. One night at a party, when Maggie is not in attendance, Sandra and Pete get sauced, and wind up getting married. Pete wakes up the next morning with a ringing headache and resounding regret, but figures he just can't wed and bed the lady and leave, so he resolves to stick it out, even though he never says any of these things. It is all between the lines. Well low and behold Pete finds out that the marriage is not legal, that Sandra's divorce from her first husband was not final until AFTER their wedding. Pete is free technically, but still he wants to do the right thing. He tells Sandra he will meet her at city hall at a particular time to redo this thing legally. But Sandra has a big piano concert she can't miss! Pete holds firm. He will be at city hall at the appointed time or the marriage is off. She does not show up, and Pete leaves skid marks on his way back to Maggie, who is dehydrating herself with all of her tears over Pete's sudden marriage and abandonment of her.

Maggie and Pete reconcile, AND they immediately marry. They both want this so there will be no more Pete waking up to any more Sandras hanging around. Some time is given to showing them being happy newlyweds, spending time together doing nothing in particular but being happy while doing it. Isn't that the definition of love? Being happy no matter what you are doing as long as you are with the other person? Well, patriotic duty takes Pete on a aerial mission over South America. It's not that he is in the military, but he is a skilled airman who can get to the remote site safely...only his plane goes down over South America and he is presumed dead. Maggie is devastated at the news, but then up pops Sandra with news of a "little accident" that is on the way from her very short lived marriage with Pete. Sandra has no room in her life for a child, Maggie very much wants Pete's child regardless of the mother, so the two head out to a remote desert spot for Sandra's pregnancy to come to fruition. Here the two enter into a "strange marriage" of sorts with Maggie being the nagging mother hen to an unhappily pregnant Sandra. The kind of nagging mother hen she said she would never want to be to Pete. During this time you get the feeling that Sandra and Pete probably were very much alike with the same impulsiveness and bristling at the idea of discipline, but then it is opposites that often attract is it not? Maggie returns and tells everybody the child is her own by her short lived marriage with Pete. Sandra goes back to her world piano concert tour. Maggie settles into happy single motherhood. And it helps to be rich and have servants in that case too.

But then happy news. Pete is alive and well. He's been living with natives in South America and has finally found his way back to civilization and is on his way home. Maggie continues "the great lie" once Pete returns, and he is thrilled to be a dad. But Sandra has heard the news too. And one day she turns up at Pete and Maggie's home. What happens? Watch and find out.

Bette Davis and George Brent play wonderfully off of each other. This is probably at least partly because they had a romantic attachment off screen. Mary Astor as Sandra is very convincing as the vengeful woman who never wanted her child, but is glad to act like she does to get Pete back. And she seems to enjoy torturing Maggie as to what her next move will be. Why? You might ask. Because Sandra knows that Pete may have married her at one time when drunk, but he chose Maggie. He still chose Maggie in his heart even after he was married to Sandra. It is never said, but I think Pete wouldn't budge on the date and place for Sandra and himself to remarry because he KNEW she'd say no, that she'd put her career first. This gave him the excuse to get out of the marriage while being able to lay the blame entirely at her feet. This movie may have been made 75 years ago, but this is still the M.O. for most men. If they are with "miss right now" and find "miss right" they will find some way to make "miss right now" leave them, so they do not have to be the bad guy. Some things never change.

Some odd facts about this movie. Bette Davis wanted Mary Astor in this film because she was an accomplished pianist, yet apparently all of the scenes of her playing were dubbed. Also, Davis and Astor hated the original script and rewrote it so that it is the accomplished work it became. Highly recommended.

No Pickles??? That's The Great Lie!!

[GeoPierpont · 6/10 · 28 February 2014]

When did Maryland look like Atlanta, GA with the vast array of weeping willows or was it magnolias and mint juleps... maybe the grits are believable but guess a moot point given the interesting proposition underlying the title. I could not believe the diet she had to go on with a doctor from Arizona, salsa pahleeze!

I found the basic plot completely believable as almost the same situation occurred to a friend and risked breaking up her marriage. Thankfully all turned out well when she called her bluff. Given the time frame the plot made all the sense in the world except perhaps suddenly wanting to destroy a family for pure revenge.

I loved the verbal as well physical sparring of the two women with the softer side of Davis. I did not find the piano playing convincing at all when the camera always showed the combo of her face with hands pretty much in shadow or conveniently cut off from view. I mean really, it was a few slow chords. If she was even fairly competent she could play that intro. They did overplay that song and found it annoying.

And that George by gosh did he ever come alive and looked manly and confident, surprisingly refreshing! I found the script compelling and intriguing with many delightful twists. High recommend for yet another Davis squabble and Brent generating romance.

Much Better Than It Ought To Be!

[DennisHinSF · 10/10 · 12 March 2018]

This is a soaper supreme that has all the makings to be overwrought and overdone. But surprise! Bette Davis and Mary Astor yank the material to the A level, and their scenes together simply crackle with tension, and subtext. It's amazing how their presence (and creative input no doubt) take what could have been maudlin, and make it something You don't want to miss! And the Tchaikovsky Piano Concerto throbbing in the background certainly doesn't hurt. Astor won a well deserved Oscar for her role and said Bette's input was a major reason why, having insisted the part be built up and polished. Just watched it again a few hours ago, and man, was it fun! Make sure you see it, and I'm not going to spoil it for you by giving away plot details!

Exaggerated Melodrama

[claudio_carvalho · 6/10 · 24 April 2014]

In New York, the playboy Peter 'Pete' Van Allen (George Brent) marries the famous pianist Sandra Kovak (Mary Astor) after a party. A couple of days later, his lawyer Lock Thompson (Jerome Cowan) tell him that their marriage is not valid, since Sandra's divorce of the previous husband is not concluded. Pete is a distinguished pilot and he flies to Maryland to meet his former fiancée Maggie Patterson (Bette Davis) in her farm. Maggie tells that her uncle has offered a position of pilot to work for the government. Pete returns to New York and tells Sandra that they need to marry again on the next week. However she has a concert in Philadelphia and tells that she cannot marry him on that date. Pete travels to Maryland and tells Maggie that he is free to marry her. They get married and soon Maggie learns that Sandra is pregnant. However Pete is missing and the search party does not find him. Maggie seeks out Sandra and proposes to adopt her baby; in return she would give a generous amount for the pianist. However when Pete is found in Manaus, Sandra visits Maggie and Pete and blackmails Maggie, expecting to have the child and Pete back.

"The Great Lie" is an exaggerated melodrama with Bette Davis, Mary Astor and George Brent. Pete is a shallow character that does not work and leaves Sandra in a ridiculous way to stay with Maggie. The rivals do not have much reason to be with Pete. The conclusion is dull, with Pete giving up of his son. My vote is six.

Title (Brazil): "A Grande Mentira" ("The Great Lie")

Life is Stranger Than Fiction - Classic Hollywood Understood This!

[amplexuslotus · 8/10 · 12 May 2013]

Spoiler Alert (just a little):

I'm glad to read so many positive comments about this film. I watched it for the first time April 2013 on TCM and was really surprised by all the fine qualities (and fun) "The Great Lie" offered. Especially since I'd never heard of this film before and have been a classic film fan since my childhood.

While pleased to read so many positive reviews, I find making apologies for this and that in the story unnecessary. Life is stranger than fiction. I truly do not know what is so "unbelievable" about this story? It's an unusual story but "unbelievable" - absolutely not. Less likely today with DNA and paternity tests, media coverage, internet etc....but wealthy (especially famous) women sometimes disappeared and then reappeared with their "adopted" baby, or claimed the child was their "niece" or "nephew". Many of these women were actresses.

I've also read several biographies of famous people who married a second or third time without knowing their divorce had in fact NOT been finalized. I've read other biographies of famous people who led secret lives, or had two families, or had a secret love child - human drama is messy beautiful and nuanced. Although most classic movies are in black and white, they understood that life is NOT black and white.

Classic film writers and audiences understood this: If it can be imagined - it's absolutely possible. We've lost our imaginations to "facts" and so called "reality." How utterly sad.

Although never a fan of George Brent, he's very good in this film. I know he and Davis had an intimate relationship but not sure if it was during the time this film was made. Either way, Davis & Brent have nice chemistry. Their love is believable.

This is not a typical role for Davis - she plays it perfectly though - a little restrained and subdued. Bette Davis and Mary Astor reworked much of the script and according to what's been written about the making of "The Great Lie", director Edmund Goulding, was supportive of his actors changing the script, which is kind of amazing. It may also explain why Davis and Astor have great chemistry on screen together as well. They both understand their characters loves, fears and desires and that of each other.

Grant Mitchell is terrific (as always) in a small part as the anxious worried manager of Astor's, diva Sandra. Lucille Watson (and actor I've always admired and enjoyed) also in a small role which she plays perfectly as Maggie's (Davis) aunt.

But it's Hattie McDaniel who makes the very most of the small role as Maggie's maid, Violet. There's a very moving scene when Pete (Brent) flies down to Baltimore (Maggie's home) and Violet and Maggie have been reading about his marriage to famous concert pianist, Sandra Kovak(Astor). Violet is so loving and protective of Maggie (Davis) as she tells off Pete (Brent) for being thoughtless and uncaring - it's really a powerful scene.

There's also a musical number which seems strange to more "modern" audiences but the music and singing is beautiful. In the past, people did entertain themselves by playing music, dancing and singing. Although I realize the African American roles in this movie (in any Warner film, in any classic American movie and let's not kid ourselves, in most current U.S. movies) are one-dimensional stereotypes but if you look past this, the talent of Hattie McDaniel and her brother Sam (playing Maggie's butler, Jefferson) shines through anyway.

I find the story intriguing in that there are several strong female characters. The dynamic between Maggie, Sandra and Pete is an unusual twist on the typical love triangle. The dialogue throughout is funny bittersweet and occasionally bitchy and a bit over the top (mostly Astor's diva Sandra) but there are characters like this and in real life! Yes, there truly are we've simply become dull and after years of being subjected to mostly mediocre movies forgot what real makes art real and what makes both life and art interesting and real: heart soul passion sincerity and damn good writing and acting.

Mary Astor (Sandra) plays a despicable talented narcissistic manipulative character with the bitchiness and ruthlessness of, many would say, a man. I haven't figured out why it's enjoyable to watch her character's personality unfold in this drama because she never redeems herself.

Astor's Sandra remains true to her narcissistic self to the very end but somehow it works. Astor won best supporting actress for this role and it's easy to see why. For those who only know Astor from The Maltese Falcon, you will be surprised by what a sublime actor she was and still is all these decades later.

Baby love

[Lejink · 7/10 · 3 May 2019]

Even by Bette Davis's standards, this must rank as one of her most over-the-top martyrdoms in movies. Not only does she forgive her long-standing fiancé, part-time pilot George Brent, his drunken one-night stand with glamour-puss Mary Astor, but she then takes him back after he tries to marry her rival (failing only on a technicality) and indeed even when she learns he has impregnated the bold Mary too.

But there's yet more, after Brent disappears somewhere along the Amazon on official government business, without him knowing he's a dad-to-be, moneybags Bette makes a pact with Astor to encourage her to go ahead with the birth and then give the child over to her to bring up as her own allowing Astor to continue with her career as a world-class concert pianist, even whisking her away to a secret hideaway and calling in a local doctor so that the baby is born in the utmost privacy. No, don't ask me why Astir is a globe-trotting musician, although it does give an excuse for the soundtrack to reverberate with the piano music of Tchaikovsky, Chopin and Rubinstein.

Well, you can guess what happens next, as Brent miraculously turns up alive and walks back into both woman's lives triggering an almighty tug-of-love to be resolved in the final reel.

You firstly feel you have to credit the players just for keeping their faces straight while acting out this preposterous storyline and then salute them for keeping you watching until the end. Davis is in her element, again making with the grand gesture beholden to Brent and under the direction of Edmund Goulding. Chain-smoking and trouser-wearing, she laps up part, especially when she gets to slap the hussy Astor when the latter is having a serious bout of pre-natal depression. Astor won an Oscar for playing the avaricious other woman and Brent is his usual urbane self even if you can't quite imagine him stringing along two such different women.

Anyway, for all its preposterousness, Davis and Astor's two-hander, with the wonderful Hattie MacDaniels chipping in with another of her typecast subservient mammy roles, make it worth watching.

Generally well-acted and entertaining, but not a highlight of Bette Davis' career...

[moonspinner55 · 5/10 · 1 September 2011]

One of Bette Davis' more colorless entries. Here she spars with concert pianist Mary Astor over playboy George Brent (the "lie" of the title involves one of the women raising the other's child as if it were her own). Somewhat plodding melodrama does pick up steam in its second-act, but it may lose non-devout viewers before then. The film's biggest obstacles are the awkward direction by Edmund Goulding and Lenore Coffee's soapy screenplay. Mary Astor won a Supporting Actress Oscar, yet her bitchiness occasionally seems forced (she's a good sport when being used for comedic relief, but even this doesn't fully come off). Hattie McDaniel is always nice to have around (albeit stuck in her proverbial role as the mouthy maid). As for Davis, she certainly looks good, however the star is trapped performing in a dishearteningly subdued key nearly throughout. ** from ****