Bette Davis 100th Birthday Box Set (Exclusive To Amazon.co.uk)

As an ad for one of Davis' movies once famously proclaimed, when she was good, she was very good. When she was bad, she was terrific. Just check out John Huston's In This Our Life (1942), this sets unearthed treasure. Bette, flouncing like mad, jilts her fiancée, steals good sister Olivia de Havilland's husband, and promptly drives him to drink and suicide. And she's just getting warmed up! (You don't need Jeannine Basinger's informed commentary to debunk the tantalizing movie legend about a supposed cameo by members of the Matlese Falcon cast. Those gents at the bar look nothing like Bogie and company. But that is Walter, John's father, tending bar). Davis was also very good at being noble. In the prestige project, Watch on the Rhine (1943), based on Lillian Hellman's play and adapted for the screen by Dashiell Hammett, she is the steadfast wife to Paul Lukas, in his Oscar-winning role, as a "legendary figure of the underground movement," who carries on his fight against fascism in Washington, D.C. In The Old Maid (1939), based on the novel by Edith Wharton, Bette allows her cousin (Miriam Hopkins) to give her illegitimate child a respectable name, and, posing as the girl's unsuspecting aunt, must stand by while she grows up spoiled and "horrid." And in All This and Heaven Too (1940), she is a transplanted French schoolteacher who regales her initially scornful students with the true story behind her scandalous past. Deception is another ripping melodrama in which she stars as a pianist whose reunion with her lost love (Paul Henreid), a cellist is threatened by Rains as her arrogant and sadistic Svengali (who's responsible for those minks in her closet). Last but not least is The Great Lie, (1941), pitting Bette against Mary Astor, who won an Academy Award as the bitchy concert pianist whose son Bette is raising (long story, but it involves missing aviator George Brent, whom they both love). These films offer such they-don't-make-'em-like-this-anymore pleasures as lush, melodramatic scores by such masters as Max Steiner, hothouse emotions, quotable dialogue, and, of course, indelible character actors at their peak. These films are seen to their best advantage when viewed as part of each disc's bonus features that recreate an old fashioned "Night at the Movies".--Donald Liebenson