The Great Lie is Soap Opera Deluxe from
Bette Davis' peak period at Warner Bros.
Davis plays a socialite who is madly in love with playboy aviator
George Brent. Brilliant but bitchy concert pianist
Mary Astor (who won a well-deserved Academy Award for her chain-smoking histrionics) is also in love with
Brent, going so far as to marry him in a secret ceremony. When it appears that the marriage may be invalid,
Astor is too devoted to her art to take the necessary corrective steps, so
Brent returns to
Davis, who is too proud to be picked up on the rebound. While flying an important government mission,
Brent disappears and is presumed killed.
Davis meets
Astor, who had been impregnated by
Brent before the question of their marriage's validity came up. Since her first marriage had been in secret,
Astor is terrified that her career will be ruined by the sudden appearance of an unexplained child, so
Davis, out of love for
Brent, agrees to claim the baby as her own. When
Brent, who of course has not been killed after all, resurfaces,
Astor demands that the child be returned to her, hoping that the child will forever bind
Brent to her.
Davis tells
Brent the whole sad story, whereupon our long-absent hero declares his love for
Davis and his willingness to give up the child to
Astor. At the last moment,
Astor returns the kid to
Davis and
Brent, and the film ends on a splendiferous musical chord courtesy of overworked Warner Bros. composer
Max Steiner. In lesser hands,
The Great Lie would have been outrageous hokum, but somehow
Bette Davis and
Mary Astor (and, to a lesser extent,
George Brent) make you want to believe that the story has some resemblance to Real Life. The film was based on the novel
January Heights by Polan Blanks, which was not governed by Hollywood censorship and thus didn't have to bend over backwards to "legitimize" the baby in the story. ~ Hal Erickson, All Movie Guide