The back-story behind Warner Bros.' JEZEBEL -- itself widely regarded among critics and connoisseurs of the films of Bette Davis (and the late Thirties in general) as that of a consolation film given to Davis when the "hunt" for Scarlett O'Hara was in full swing -- is as long and convoluted as the tangled passions within the story shown on screen. Davis, among a long list of actresses, were hungry to play this plum role even when it was already, contractually, and secretly secured to Vivien Leigh. Davis' position at Warner Bros. makes me wonder if she was somewhat aware of the situation for which she decided to accept to take on the role of Julie Marsden -- itself nearly identical to Scarlett. When seeing snippets of scenes from both this and GONE WITH THE WIND side by side on a split screen, even some trivial scenes (like that of both Scarlett and Julie primping up their faces in front of a mirror) wind up looking cloned. As a matter of fact, much of JEZEBEL looks and feels like dress rehearsal or a matinée showing of the more lavish and grandiose, full-length feature film GONE WITH THE WIND, which has become an intrinsic part of American Film History. Even so, this is not saying JEZEBEL is an inferior film -- it's not, and has some very beautiful moments, especially the dance sequence where Julie and Pres are progressively left alone in the middle of the ballroom, and of course Julie, pleading to Press in her white dress, falling to the floor like a reverse bloom. Bette Davis has some of her better acting here -- no chewing the scenery, but emoting only through minimal expressions and her eyes. She's balanced by Oscar winner Fay Bainter who plays her aunt Belle and matches Davis scene by scene. Despite having the less showy parts, Henry Fonda, George Brent, and Margaret Lindsay (always the second woman in a Warner Bros. drama) have strong screen presences, but most of all the star of this movie is William Wyler, who could always be counted on having Davis give exactly what she was required to do and not sabotage a movie due to her operatic demands and bombastic overacting. Because of Wyler, JEZEBEL is a much better film that it would have eventually been.