Bette Davis

1930–1936: Early years in Hollywood

After appearing on Broadway in New York, the 22-year-old Davis moved to Hollywood in 1930 to screen test for Universal Studios. She was inspired to pursue a career as a film actress after seeing Mary Pickford in Little Lord Fauntleroy. Davis and her mother traveled by train to Hollywood. She later recounted her surprise that no-one from the studio was there to meet her. In fact, a studio employee had waited for her, but left because he saw no-one who "looked like an actress". Davis failed her first screen test, but was used in several screen tests for other actors.

In a 1971 interview with television talk show host Dick Cavett, she related the experience with the observation, "I was the most Yankee-est, most modest virgin who ever walked the earth. They laid me on a couch, and I tested fifteen men... They all had to lie on top of me and give me a passionate kiss. Oh, I thought I would die. Just thought I would die." A second test was arranged for Davis, for the 1931 film A House Divided. Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the film director William Wyler, who loudly commented to the assembled crew, "What do you think of these dames who show their chests and think they can get jobs?".

Carl Laemmle, the head of Universal Studios, considered terminating Davis's employment, but cinematographer Karl Freund told him she had "lovely eyes" and would be suitable for Bad Sister (1931), in which she subsequently made her film debut. Her nervousness was compounded when she overheard the chief of production, Carl Laemmle, Jr., comment to another executive that she had "about as much sex appeal as Slim Summerville", one of the film's male co-stars. The film was not a success, and her next role in Seed (1931) was too brief to attract attention.

Universal Studios renewed her contract for three months, and she appeared in a small role in Waterloo Bridge (1931), before being lent to Columbia Pictures for The Menace, and to Capital Films for Hell's House (all 1932). After one year, and six unsuccessful films, Laemmle elected not to renew her contract.

Davis was preparing to return to New York when actor George Arliss chose Davis for the lead female role in the Warner Bros. picture The Man Who Played God (1932). For the rest of her life, Davis credited him with helping her achieve her "break" in Hollywood. The Saturday Evening Post wrote, "She is not only beautiful, but she bubbles with charm", and compared her to Constance Bennett and Olive Borden. Warner Bros. signed her to a seven-year contract, yet she remained with the studio for the next 18 years.

Davis's first marriage was to Harmon Oscar Nelson on August 18, 1932, in Yuma, Arizona. Their marriage was scrutinized by the press; his $100 a week earnings ($1,900 per week in 2024 dollars) compared unfavorably with Davis's reported $1,000 a week income ($19,000 per week in 2024 dollars). Davis addressed the issue in an interview, pointing out that many Hollywood wives earned more than their husbands, but the situation proved difficult for Nelson, who refused to allow Davis to purchase a house until he could afford to pay for it himself. Nelson was able to enforce his wishes because, at the time, the husband had the management and control of the community property, which included the wife's earnings, and the wife could not obtain credit without her husband's consent. Davis had two abortions during the marriage, each at Nelson's insistence.

Davis played Helen Bauer in the 1933 pre-Code drama Ex-Lady alongside Gene Raymond. However, the film was overshadowed by fellow actress Joan Crawford's divorce from her first husband, Douglas Fairbanks Jr., leading to its failure at the box office. Though Crawford had no malicious intent toward Davis, Davis was nonetheless angered by this turn of events, which led her to resent Crawford and began a lifelong feud between the two actresses.

After more than 20 film roles, she had her critical breakthrough playing the role of the vicious and slatternly Mildred Rogers in the RKO Radio production of Of Human Bondage (1934), a film adaptation of W. Somerset Maugham's novel. It earned Davis her first major critical acclaim, although, contentiously, she was not among the three nominees for the Academy Award for Best Actress that year. Many actresses feared playing unsympathetic characters, and several had refused the role, but Davis viewed it as an opportunity to show the range of her acting skills. Her co-star, Leslie Howard, was initially dismissive of her, but as filming progressed, his attitude changed, and he subsequently spoke highly of her abilities.

The film's director, John Cromwell, allowed her relative freedom. "I let Bette have her head. I trusted her instincts." Davis insisted that she be portrayed realistically in her death scene, and said, "The last stages of consumption, poverty, and neglect are not pretty, and I intended to be convincing-looking."

The film was a success, and Davis's characterization earned praise from critics, with Life writing that she gave "probably the best performance ever recorded on the screen by a U.S. actress". Davis anticipated that her reception would encourage Warner Bros. to cast her in more important roles, and was disappointed when Jack L. Warner refused to lend her to Columbia Studios to appear in It Happened One Night, and instead cast her in the melodrama Housewife. When Davis was not nominated for an Academy Award for Of Human Bondage, The Hollywood Citizen News questioned the omission, and Norma Shearer, herself a nominee, joined a campaign to have Davis nominated. This prompted an announcement from the Academy president, Howard Estabrook, who said that under the circumstances, "any voter...may write on the ballot his or her personal choice for the winners", thus allowing, for the only time in the Academy's history, the consideration of a candidate not officially nominated for an award. The uproar led, however, to a change in academy voting procedures the following year, wherein nominations were determined by votes from all eligible members of a particular branch, rather than by a smaller committee, with results independently tabulated by the accounting firm Price Waterhouse. The next year, A Midsummer Night's Dream became the only film to win a write-in Oscar, for Best Cinematography.

The next year, her performance as a down-and-out troubled actress in Dangerous (1935) received very good reviews and landed Davis her first Best Actress nomination and win. E. Arnot Robertson wrote in Picture Post that, "I think Bette Davis would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet". The New York Times hailed her as "becoming one of the most interesting of our screen actresses". She won the Academy Award for Best Actress for the role, but commented that it was belated recognition for Of Human Bondage, calling the award a "consolation prize". For the rest of her life, Davis maintained that she gave the statue its familiar name of "Oscar" because its posterior resembled that of her husband, whose middle name was Oscar, although, the Academy of Motion Picture Arts and Sciences officially makes reference to another story.

Davis had not expected to win the award, so she had worn only a plain dress. At the 8th Academy Awards, where she received the award, fellow attendee Joan Crawford said to her, "Dear Bette! What a lovely frock." She had attended with her second husband, Franchot Tone, with whom Davis had been in love, but Crawford had married in 1935. Both of these events led to more contention between the two actresses, who had already clashed in 1933. Later on, when they shared dressing rooms near to each other, Crawford tried to make a truce with Davis by sending her gifts, all of which Davis returned.

In her next film, The Petrified Forest (1936), Davis co-starred with Leslie Howard and Humphrey Bogart.

Warner Bros vs. Bette Davis

In the spring of 1936, Davis asked Warner Bros. to loan her out to RKO to make Mary of Scotland. Warner Bros. refused and assigned Davis two films that were written specifically for her: God's Country and the Woman, and Mountain Justice. However, as God's Country and the Woman was going into production, Davis refused to work, and demanded a salary increase on her contract with Warner Bros. At the time, Davis was earning $1,250 per week. Jack Warner offered Davis an increased salary of $2,250 per week, which Davis refused. Davis's agent, Mike Levee, said: "She's a very stubborn young lady. I asked her how much she wanted, and she said $3,500 a week, plus all radio rights and permission to make outside pictures. I told her, 'Whoa, that's too much!'"

Meanwhile, due to Davis's refusal to continue with God's Country and the Woman, Warner Bros. was incurring excessive production costs because the film was being made in Technicolor, and the Technicolor cameras were rented. In late June, the studio put Davis on suspension for refusal to work, and replaced her in the film with Beverly Roberts.

During negotiations with Warner Bros. regarding her salary and signing Davis for the female lead in Danton, Davis abruptly traveled to England with her husband, Harmon Nelson, on a "vacation". However, in England, Davis signed a contract with British film production company Toplitz, to make the film I'll Take the Low Road in England with Maurice Chevalier for a $50,000 salary.

On September 9, 1936, Warner Brothers filed a legal injunction against Davis in England which forbade her from appearing in film productions without their consent. While on a shopping spree in Paris, Davis publicly declared to the press that she intended to defy Warner Bros' legal injunction and make the film in England.

On October 14, 1936, the British court held a hearing regarding the studio's injunction against Davis. Mr Justice Branson issued his decision on October 19, ruling in favor of Warner Bros. Justice Branson dismissed Davis's representative's claims that she was an "underpaid slave" held under a "life sentence", and ruled that Davis was in breach of her contract to Warner "for no discoverable reason except that she wanted more money".

Davis was ordered to pay Warner Bros. $80,000 in restitution, and was also ordered to pay the studio's legal fees for filing the injunction in England. The British press offered little support to Davis, calling her overpaid and ungrateful.

1942–1944: War years

In 1943, Davis told an interviewer that she had molded her film career on her motto, "I love tragedy," and ironically, until Pearl Harbor, she had been recognized as the American favorite of Japanese moviegoers—because to them, she "represented the admirable principle of sad self-sacrifice."

In 1942, numerous Hollywood entertainment industry members joined forces to form the Hollywood Canteen. Davis and John Garfield were the driving force who were credited with founding the canteen, along with the aid of 42 unions and guilds in the industry, plus thousands of celebrity volunteers from the Hollywood Victory Committee and beyond. The Canteen offered food, dancing and entertainment for servicemen and was staffed by members of the entertainment industry. Davis served as Canteen president through the end of the war.

In 1983, Davis received the Distinguished Civilian Service Medal from the Department of Defense for her work with the Hollywood Canteen.

She appeared as herself in the film Hollywood Canteen (1944), which used the canteen as the setting for a fictional story. Warner Bros. donated 40% of proceeds from the film to both the Hollywood Canteen and the Stage Door Canteen in Manhattan.

Davis showed little interest for the role of repressed spinster Charlotte Vale in the drama film Now, Voyager (1942), until Hal Wallis advised her that female audiences needed romantic dramas to distract them from the reality of their lives. It became one of the better known of her "women's pictures". In one of the film's most imitated scenes, Paul Henreid lights two cigarettes as he stares into Davis's eyes, and passes one to her. Film reviewers complimented Davis on her performance, the National Board of Review commenting that she gave the film "a dignity not fully warranted by the script". She received her seventh Oscar nomination for Now, Voyager. That same year, she was also cast against type opposite Monty Woolley in the hit comedy The Man Who Came to Dinner (1942).

During the early 1940s, several of Davis's film choices were influenced by the war, such as Watch on the Rhine (1943), by Lillian Hellman, and Thank Your Lucky Stars (1943), a lighthearted all-star musical cavalcade. Davis performed a novelty song, "They're Either Too Young or Too Old." Old Acquaintance (1943) reunited her with Miriam Hopkins in a story of two old friends who deal with the tensions created when one of them becomes a successful novelist. Davis felt that Hopkins tried to upstage her throughout the film. Director Vincent Sherman recalled the intense competition and animosity between the two actresses, and Davis often joked that she held back nothing in a scene in which she was required to shake Hopkins in a fit of anger.

In August 1943, Davis' husband, Arthur Farnsworth, collapsed while walking along a Hollywood street and died two days later. An autopsy revealed that his fall had been caused by a skull fracture he had suffered two weeks earlier having accidentally fallen down a flight of stairs. A finding of accidental death was reached. Highly distraught, Davis attempted to withdraw from her next film Mr. Skeffington (1944), but Jack Warner, who had halted production following Farnsworth's death, persuaded her to continue. Although she had gained a reputation for being forthright and demanding, her behavior during filming of Mr. Skeffington was said to be erratic and out of character. She alienated Vincent Sherman by refusing to film certain scenes and insisting that some sets be rebuilt. She improvised dialogue, which made the writer Julius Epstein rewrite scenes at her whim. Davis later explained her actions with the observation "When I was most unhappy, I lashed out rather than whined." Some reviewers criticized Davis for the excess of her performance; James Agee wrote that she "demonstrates the horrors of egocentricity on a marathonic scale". Despite these reviews, Mr. Skeffington was another box-office hit and earned Davis another Academy Award nomination.

1945–1949: Career setbacks

In 1945, Davis married artist William Grant Sherry, her third husband, who also worked as a masseur. She had been drawn to him because he claimed he had never heard of her and so was not intimidated by her.

The same year, Davis made The Corn Is Green (1945), based on the play by Emlyn Williams. Davis played Miss Moffat, an English teacher who saves a young Welsh miner (John Dall) from a life in the coal pits by offering him education. The part had been played in the theater by Ethel Barrymore (who was 61 at the play's premiere), but Warner Bros. felt that the film version should depict the character as a younger woman. Davis disagreed, and insisted on playing the part as written, and wore a gray wig and padding under her clothes, to create a dowdy appearance. The critic E. Arnot Robertson observed:Only Bette Davis...could have combated so successfully the obvious intention of the adaptors of the play to make frustrated sex the mainspring of the chief character's interest in the young miner. She concluded that "the subtle interpretation she insisted on giving" kept the focus on the teacher's "sheer joy in imparting knowledge". The film was well received by critics, and made a profit of $2.2 million.

Her next film, A Stolen Life (1946), was the only film that Davis made with her own production company, BD Productions. Davis played dual roles as twins. The film received poor reviews, and was described by Bosley Crowther as "a distressingly empty piece"; but, with a profit of $2.5 million, it was one of her biggest box office successes. Her next film was Deception (1946), the first of her films to lose money.

In 1947, at the age of 39, Davis gave birth to daughter Barbara Davis Sherry (known as B.D.), and later wrote in her memoir that she became absorbed in motherhood and considered ending her career. As she continued making films, however, her relationship with her daughter B.D. began to deteriorate, and her popularity with audiences steadily declined.

In 1948, Davis was cast in the melodrama Winter Meeting. Although she initially was enthusiastic, she soon learned that Warner had arranged for "softer" lighting to be used to disguise her age. She recalled that she had seen the same lighting technique "on the sets of Ruth Chatterton and Kay Francis, and I knew what they meant". To add to her disappointment, she was not confident in the abilities of her leading man – Jim Davis in his first major screen role. She disagreed with changes made to the script because of censorship restrictions, and found that many of the aspects of the role that initially appealed to her had been cut. The film was described by Bosley Crowther as "interminable", and he noted that "of all the miserable dilemmas in which Miss Davis has been involved...this one is probably the worst". It failed at the box office, and the studio lost nearly $1 million.

While making June Bride (1948), Davis clashed with co-star Robert Montgomery, later describing him as "a male Miriam Hopkins...an excellent actor, but addicted to scene-stealing". The film marked her first comedy in several years, and earned her some positive reviews, but it was not particularly popular with audiences, and returned only a small profit.

Despite the lackluster box-office receipts from her more recent films, in 1949, she negotiated a four-film contract with Warner Bros. that paid $10,285 per week and made her the highest-paid woman in the United States. However, Jack Warner had refused to allow her script approval, and cast her in Beyond the Forest (1949). Davis reportedly loathed the script and begged Warner to recast the role, but he refused. After the film was completed, her request to be released from her contract was honored.

The reviews of the film were scathing. Dorothy Manners, writing for the Los Angeles Examiner, described the film as "an unfortunate finale to her brilliant career". Hedda Hopper wrote: "If Bette had deliberately set out to wreck her career, she could not have picked a more appropriate vehicle." The film contained the line "What a dump!", which became closely associated with Davis after it was referenced in Edward Albee's Who's Afraid of Virginia Woolf?, and impersonators began to use it in their acts. Arthur Blake was a famous female impersonator of the post World-War II era who was particularly known for his performances as Bette Davis; notably impersonating her in the 1952 film Diplomatic Courier.

1949–1960: Starting a freelance career

Davis filmed The Story of a Divorce (released by RKO Radio Pictures in 1951 as Payment on Demand). She played a Broadway star in All About Eve (1950), which earned her another Oscar nomination and won her the Cannes Film Festival Award for Best Actress. Davis read the script, described it as the best she had ever read, and accepted the role. Within days, she joined the cast in San Francisco to begin filming. During production, she established what became a lifelong friendship with her co-star Anne Baxter and a romantic relationship with her leading man Gary Merrill, which led to marriage. The film's director Joseph L. Mankiewicz later remarked: "Bette was letter perfect. She was syllable-perfect. The director's dream: the prepared actress."

Critics responded positively to Davis's performance, and several of her lines became well-known, particularly "Fasten your seat belts, it's going to be a bumpy night". She was again nominated for an Academy Award, and critics such as Gene Ringgold described her Margo as her "all-time best performance". Pauline Kael wrote that much of Mankiewicz's vision of "the theater" was "nonsense", but commended Davis, writing "[the film is] saved by one performance that is the real thing: Bette Davis is at her most instinctive and assured. Her actress – vain, scared, a woman who goes too far in her reactions and emotions – makes the whole thing come alive."

Davis won a Best Actress award from the Cannes Film Festival, and the New York Film Critics Circle Award. She also received the San Francisco Film Critics Circle Award as Best Actress, having been named by them as the Worst Actress of 1949 for Beyond the Forest. During this time, she was invited to leave her hand prints in the forecourt of Grauman's Chinese Theatre.

On July 3, 1950, Davis's divorce from William Sherry was finalized. On July 28, she married Gary Merrill, her fourth and final husband. With Sherry's consent, Merrill adopted B.D., Davis's daughter with Sherry. In January 1951, Davis and Merrill adopted a five-day-old baby girl they named Margot Mosher Merrill (born January 6, 1951 - died May 5, 2022), after the character Margo Channing.

In 1952, they adopted a baby boy, Michael, born February 5, 1952. Davis and Merrill lived with their three children on an estate on the coast of Cape Elizabeth, Maine. Davis and Merrill also stayed at Homewood Inn in Yarmouth, Maine, for six months. After semi-retirement in the mid-1950s, Davis again starred in several movies during her time in Maine, including The Virgin Queen (1955), in which she again played Queen Elizabeth I.

The family traveled to England, where Davis and Merrill starred in the murder-mystery film Another Man's Poison (1951). When it received lukewarm reviews and failed at the box office, Hollywood columnists wrote that Davis's comeback had petered out, and an Academy Award nomination for The Star (1952) did not halt her decline at the box office. In it, she played a character who many thought took to be a parody of Davis's rival Joan Crawford.

In 1952, Davis appeared in the Broadway revue Two's Company, directed by Jules Dassin. She was uncomfortable working outside of her area of expertise; she never had been a musical performer, and her limited theater experience had been more than 20 years earlier. She was also severely ill and was operated on for osteomyelitis of the jaw. Margot was diagnosed as severely brain-damaged due to an injury sustained during or shortly after her birth. Though Davis tried to care for Margot, she eventually placed her daughter in an institution around the age of 3. Davis and Merrill began arguing frequently, and B.D. later recalled episodes of alcohol abuse and domestic violence.

Few of Davis's films of the 1950s were successful, and many of her performances were condemned by critics. The Hollywood Reporter wrote of mannerisms "that you'd expect to find in a nightclub impersonation of [Davis]", while the London critic Richard Winninger wrote

Miss Davis, with more say than most stars as to what films she makes, seems to have lapsed into egoism. The criterion for her choice of film would appear to be that nothing must compete with the full display of each facet of the Davis art. Only bad films are good enough for her.

Her films of this period included Storm Center (1956) and The Catered Affair (1956). As her career declined, her marriage continued to deteriorate until she filed for divorce in 1960. The following year, her mother died. During the same time, she tried television, appearing in three episodes of the popular NBC Western Wagon Train as three different characters in 1959 and 1961; her first appearance on TV had been February 25, 1956, on General Electric Theatre.

In 1959, she starred alongside Alec Guinness in the film The Scapegoat.

In 1960, Davis, a registered Democrat, appeared at the 1960 Democratic National Convention in Los Angeles, where she met future President John F. Kennedy, whom she greatly admired. Outside of acting and politics, Davis was an active and practicing Episcopalian.