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Cast

Bette Davis
as Julie Marsden

Henry Fonda
as Preston Dillard

George Brent
as Buck Cantrell

Margaret Lindsay
as Amy Bradford Dillard

Fay Bainter
as Aunt Belle Massey

Richard Cromwell
as Ted Dillard

Donald Crisp
as Dr. Livingstone

Henry O'Neill
as Gen. Bogardus

John Litel
as Jean LeCour

Gordon Oliver
as Dick Allen

Janet Shaw
as Molly Allen

Spring Byington
as Mrs. Kendrick

Georgia Caine
as Mrs. Petion

Irving Pichel
as Huger

Georges Renavent
as De Lautrec

Fred Lawrence
as Bob

Ann Codee
as Mme. Poulard the Dressmaker

Lou Payton
as Uncle Cato

Lew Payton
as Uncle Cato

Eddie 'Rochester' Anderson
as Gros Bat

Theresa Harris
as Zette

Matthew 'Stymie' Beard
as Ti Bat

Sam McDaniel
as Driver

Charles Wagenheim
as Customer

Jacques Vanaire
as Durette

Daisy Bufford
as Black Flower Girl

Jesse Graves
as Black Servant

Frederick Burton
as Bank Director

Edward McWade
as Bank Director

Al Bridge
as New Orleans Sheriff

Frank Darien
as Bank Bookkeeper

Suzanne Dulier
as Midinette

John Harron
as Jenkins

Philip Hurlic
as Erronens

Dolores Hurlic
as Errata

Davison Clark
as Deputy Sheriff

Trevor Bardette
as Sheriff at Plantation

George Guhl
as Fugitive Planter

Maurice Brierre
as Drunk

Tony Paton
as Drunk

Jack Norton
as Drunk

Louis Mercier
as Bar Companion

Alan Bridge
as New Orleans Sheriff

Margaret Early
as Stephanie Kendrick

Jack George
as Orchestra leader

Charles B. Middleton
as Officer

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Critic Reviews for Jezebel

Audience Reviews for Jezebel

• Mar 31, 2016

  Bette Davis made the most of this part that was given to her as a consolation after Vivien Leigh beat her out for the role of Scarlett O'Hara in Gone With the Wind. She's excellent in the role as the lithe and spirited southern belle who shocks her fiancé and the rest of society by (gasp) wearing a red dress when white is the rule for unmarried women. Her fiancé is played by Henry Fonda, who's sporting a lot more hair at age 33 than I ever remember him having, and who mercilessly keeps her at the ball even though it's now clear to her that she's made a mistake, and everyone is treating her as a pariah (including clearing off the dance floor as they twirl around). There are so many great scenes with Davis. She gives Fonda a great slap when he leaves her that night for good. She humiliates herself when he comes back a year later and she's on her knees in the dress she should have worn that night, only to be introduced to his wife. However if Bette Davis had not been cast, this would be a pretty bad movie. Henry Fonda is wooden and awful. Black folks are content and happy to be slaves. Davis's character starts off by proclaiming this is 1852, she can dress as she wants, making us hopeful that she's independent and a pioneer, but she's soon cowed and contrite. She does deviously try to get Fonda back, and in an interesting, subtle parallel, he too becomes a pariah when he contacts yellow fever during an epidemic, but the ending is forced, melodramatic, and abrupt. Davis was 30 years old when the film was made but had already been in 36 movies, won one Oscar and been nominated for one other, and yet she said this was the role that truly established her. You can see why, and if you can watch it just for her, you'll probably enjoy it.
  Antonius B Super Reviewer
• Nov 15, 2013

  Bette Davis' depiction of Jezebel trumps Gone With the Wind in her portrayal of a Southern belle. It perhaps is even a career topper for Davis.
  

  John B Super Reviewer
• Oct 16, 2013

  A Southern belle attempts to manipulate her societal standing and buck social norms. Half the film of its ilk, <i>Gone with the Wind</i> the best example, <i>Jezebel</i> is a classic Southern society drama that assumes as normative racism and misogyny. Julie Marsden (Bette Davis) attempts to pervert the typical Southern culture, but she is "put in her place" by happenstance and her male "betters." Her rebuke symbolizes the film's tacit acceptance that there is such a thing as a "woman's place," and though Davis's performance is enticing and often funny, there's nothing a great actress can do to recover a failed story. Most offensive is the film's portrayal of African-Americans. Elided are the whippings, yearnings for freedom, and the forced labor, and these depictions are replaced with numerous shots of "happy Negros," content with their lower caste and more than willing to serve their "better" white folk. They speak in affected accents, and conscious of the film's problematic portrayal, the modern closed caption writer translated the film's "Yessum" to "Yes, ma'am," a phrase no African-American character actually utters. Overall, despite strong performances by Henry Fonda and Davis, the film's offense and its plodding story cannot be forgiven.
  Jim H Super Reviewer
• Aug 28, 2011

  With many similarities to GWTW, this melodrama depicts New Orleanian genteel society directly before the War Between The States. Davis is a spoiled, manipulative ingenue with her intentions set on rising banker Fonda, only he refuses her golden puppet strings much to her consternation. An entertaining piece until its rushed and contrived ending.
  Kevin M. W Super Reviewer

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