![]() But why the switchover to the other twin? So it is that even though Kate has done her best to not only keep Patricia out of the picture, but also to hide the fact that there even is a Patricia, it’s a chance meeting on the docks while Bill is waiting on Kate that vaults Patty into the picture.īy the time of the local barn dance, it’s pretty clear where his intentions lie when he dances with Patty while Kate is left to fume with her cousin. ![]() Of course, the beauty of evil twins is that even when the good twin knows the other one is prone to nefarious activities, all it takes is a moment alone with their target and all the precautions in the world can’t save you. ![]() I’m guessing it was because she was afraid that Patty would steal this guy away from her. Kate’s relationship with Bill progresses, but for some reason she never wants him to go to her place. It did manage to add a good fifteen minutes to things that were quite needless. I’d like to say that the whole artist angle really added some vital moments to the film, but that would be my evil twin talking. You see, Kate is an artist in addition to being a repressed plain Jane with a whore for a twin sister. He usually doesn’t carry passengers, but he makes an exception in her case and doesn’t mind when she uses the two hour trip to sketch his portrait. She manages to miss the last ferry of the day, but is able to cajole Glenn Ford’s Bill into giving her a lift to the island. Kate (she’s the mousy twin) comes to an island off the coast of Massachusetts to visit her sister, Patricia. The movie though is such a plodding affair that we don’t even get to the underwhelming evil twin stuff until about a half hour into things. The dirty tricks in the movie aren’t terribly dirty and the silly plot twists, while silly, don’t carry all that much in the way of high stakes consequences. One need only to look at films such as The Great Lie and The Old Maid to see how these things should at least be attempted (actual execution is another thing entirely). Spoiling your “twin tricks Glenn Ford” gimmick by having him get the better twin after already dumping her for her slightly sluttier sister doesn’t make much sense and limits the sort of screeching drama that a movie of this sort demands.Ī slow moving film that never amounts to much and frequently languishes on the shoals of extraneous plot points, A Stolen Life seems to be scripted without any concept of what a Bette Davis movie involving dirty tricks and silly plot twists is all about. Assisted by special effects wizardry from Willard Van Enger and Russell Collings, both Davis and Davis are terrific in their roles.You know you’re in for some rough sailing when it’s the evil twin that goes over the side of the boat leaving the goody-goody twin to assume her identity. Expect, of course, the titular "A Stolen Life" as the evil Davis moves to steals her sister's man. Throw in the fact that Bette Davis (also as Patricia "Pat" Bosworth) plays her own slutty sister, and you've struck movie gold. You can definitely sense some subtext and symbolism in this picture And, you can't go wrong with Bette Davis melodramatically falling in love amidst crisp direction by Curtis Bernhardt, beautiful black-and-white photography by Ernest Haller and Sol Polito, a sweet soundtrack by Max Steiner, and the crew at Warner Bros. ![]() Later, cocky Dane Clark (as Karnock) intrudes. Brennan's portrait - but, she really wants to show Ford her etchings. On the verge of spinsterhood, Davis is clearly attracted to Ford, and arranges to paint Mr. Ford's crusty lighthouse keeper, Walter Brennan (as Eben Folger). Handsome young Glenn Ford (as Bill Emerson) happens by, and Ms. Wealthy New England artist Bette Davis (as Kate Bosworth) emerges late from her star vehicle, and misses the boat taking her to visit her cousin, the distinguished Charlie Ruggles (as Freddie Linley).
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