Mr. Skeffington is a first class melodrama with the fingerprints of the 1940’s all over it.
Bette Davis plays Fanny Trellis, a woman as beautiful on the outside as she is ugly on the inside. She strings along her many admirers, amusing herself with the way they fall all over themselves competing for her attention. She dangles the prospect of marriage like bait on a hook, but cares nothing for any of them.
She cares for nothing but herself, her beauty, and her brother.
Her brother, George “Trippy” Trellis is as worthless as she is, and since the death of their parents has squandered the family fortune.
While they put on a brave face for their friends and society, the Trellis siblings are dead broke.
Like it or not, Fanny will have to choose one of her admirers and graduate from a debutante to a wife.
To the surprise and disapproval of everyone, she choses Job Skeffington, a self-made Jewish man high up the ladder in a brokerage firm and Trippy’s boss. The choice serves two purposes—Skeffington is the richest of her suitors, and their marriage will prevent Skeffington from prosecuting Trippy for embezzlement.
For Fanny, love never enters the equation.
Job Skeffington is a better man than Fanny deserves. Patient, kind, and reliable, he knows Fanny does not yet love him but believes he can earn her affection over time.
When Trippy is killed in World War I, Fanny is inconsolable as his death has made her “sacrifice” in marrying Job pointless. She torments Job, refusing to act as a proper wife or mother to their daughter.
Fanny maintains her looks as she ages, and still enjoys the attention of all her old (now married) suitors, as well as the affection of younger men. She basks in the adoration, all the while ignoring the true love of the husband and daughter she leaves at home.
Over a decade into his loveless marriage, Job finally has enough and finds comfort in another woman. When Fanny finds out she divorces him, relieved to be rid of him and her daughter.
But fate plays a cruel trick on Fanny. She contracts diphtheria and though she recovers, the illness robs her of her most prized possession—her beauty. She ages well beyond her time and loses her hair. Her outside appearance finally matches her cruel and careless heart.
Davis sunk her teeth into the role. At thirty-six, she made herself over into a fifty-year-old scarred former beauty. She was always willing to do anything for a role, and even pushed the makeup artist to make her appearance even more devastating. When the director protested that she looked too hideous, she waved him off.
“My audience likes to see me do this sort of thing,” she told him.
Fanny is humbled by the loss of her looks. All the male attention disappears overnight, and she cannot bear the shocked looks when people see her new appearance. She becomes a recluse, and having pushed Job and her daughter away, there is no one left to care.
Meanwhile, Job has been in his own hell. Living in Europe after the divorce, he is rounded up by the Nazis and spends time in a concentration camp.
At the end of the film, he returns to Fanny, blind and broken.
Fanny is finally able to appreciate what a fine man she had in Job. And her vanity is still in place—his blindness is a boon to her, as he will always remember her as beautiful, and will literally never see what she has become.
The film ends with their heartfelt reconciliation and the promise that they will finally have a two-way marriage filled with love and mutual respect.
Offscreen, things didn’t end so peacefully. Davis was grieving the death of her second husband, who had collapsed in the street and died without warning. She lashed out and fought constantly with the directors, the screenwriters, and the producers.
She also had an affair with the director.
Director Vincent Sherman could not reign Davis in, and she meddled in everything—the script, the directing, the lighting. Her constant interference had the film dragging on months behind schedule.
Jack Warner cornered writers (and brothers) Julius and Philip Epstein and demanded to know why the film was so far behind schedule.
“Because Bette Davis is a slow director,” they told him.
Production manager Frank Mattison’s daily notes from the filming are more dramatic than half the shows on television:
“We are in somewhat of a dilemma concerning the matter of our producers refusing to have anything to do with the picture. Miss Davis is not only the director, but she is now the producer also.”
Poor Vincent Sherman had directed Davis in two consecutive years— first in her epic catfight with Miriam Hopkins in Old Acquaintance and now in Skeffington. Davis had been beaten him down into submission.
“The only way I could finish the picture was by having an affair with her,” he said.
Sherman ended both their professional and personal relationship when the film wrapped.
The result was another Oscar nomination, Bette Davis’ seventh.
And another bridge burned.
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