Directed by William Wyler and starring Bette Davis and Henry Fonda in 1938, “Jezebel” is a romantic drama set in the antebellum South, following the pursuit of a woman named Julie and the object of her desire and love, a banker named Preston Dillard. Julie had a gift of manipulation and used it to toy with people, entertain herself, and get her way. In such a strict social society, where a non-married woman must only wear a certain type of dress, especially at balls, Julie, craving rebellion and attention, wore a striking red dress. Despite warnings from her family and her fiancé Preston, who said he would not escort her if she wore the red gown, she defied him and wore the dress, not realizing this would be the last straw for Preston. 

This film has the old Hollywood southern beauty, very similar to Gone With The Wind, and there is such an interesting psychological ability to examine Julie, whose antics reflected the “Jezebel” Archetype, and yet, her true undying love for Preston won over all. When Preston had left her for a year, her personality shifted entirely, losing the spark and edge that made her stand out, waiting and longing for his return, and when he returned, the old rebellious spirit that made her wear that red dress was far inferior to the desire to win back his love, wearing white to beg for his forgiveness. Realizing the man she had loved for years had, within a year of leaving her, returned married to a Northern Woman, she was entirely heartbroken and spiteful. He was her tie to goodness, and when that tie snapped, she returned to her tendencies with a heightened vengeance. He was moral and stayed loyal to his wife, despite Julie’s best attempts otherwise, and it was only when Preston was ill that all that mattered was him, not her having him. The calculating behavior could be put to good, and she was the only one with the strength and cunning capabilities to take care of Preston, sick with Yellow Fever, a contagious disease necessitating the sick to be quarantined on Lazaret Island, pleading with his wife to take her place to take care of him, admitting that Preston only loves and is loyal to his wife. 

Although many who saw this film found Julie’s final redemption sudden and unbelievable, I interpreted the ending differently. In my opinion, the period she spent after Preston left her really cemented his importance to her. I don’t think the final scene meant she would give up trying to keep him for herself, despite her acknowledging that Preston loves his wife, because finally, her gifts of manipulation would be for his benefit. The final scene showed how truly in love she was with him, risking her own life for his, but her devotion to him had been evident long before, and rather than becoming a martyr, she found a newfound strength in using her abilities for good, for the man she loved. She is sacrificial, and she cares for him above herself; that is the main transformation. She wants his well-being, even if she can’t have him yet, since she knows he loves his wife, because all that matters is his life. The rest can come after, but she had the strength to keep him alive and with her on this earth, and that entirely fit her character. She could do wicked and evil things to get her way, and her way has to do with her love for him. This film was entertaining and fascinating to watch, with gorgeous cinematography of the Old South and phenomenal acting by Betty Davis, and I would highly recommend this film.