User Reviews

`Born to be Bad' is a great melodrama from 1950 directed by Nicholas Ray and starring the normally genteel Joan Fontaine. In this film however, Fontaine plays Christabel, a young socialite who purports to be an earnest and innocent woman, yet has a pretty insidious duplicitous nature. (Think a slightly less deranged Eve Harrington) Throughout the course of the film, Christabel connives her way into winning the heart of a wealthy man who was previously betrothed to the woman who took her in to her home and introduced her to society as well as love and throw away a famous writer who she seems to actually have feelings for, yet cannot give up the allure of marrying for money.

The great thing about `Born to be Bad' is that no matter what happens to her, Christabel is pretty unrepentant, even up until the very end. This is somewhat varied from the great melodramas of the 30's-50's, where the `evil man/woman' sees the error in their ways, or gets their comeuppance. Nicholas Ray of course went on to direct the classics `Johnny Guitar' and `Rebel Without a Cause', the very model from which teen angst films stemmed, but `Born to be Bad' is a pretty simple film that has a lot of good scene-chewing scenes. I particularly enjoyed watching Fontaine practically get whiplash every time one of her men would grab her and kiss her with fervent passion; it's just that cheesy and good. `Born to be Bad' is another fine example of why the melodramas of this era play so much better than any of that genre today, and even in the last couple of decades – it is intelligent, with a great script and even better acting, and is just simply fun to watch.

--Shelly

Director Nicholas Ray managed to take his revenge on RKO's Howard Hughes with this real life "Citizen Kane". Hughes was obsessively pursuing Joan Fontaine whose post WWII career was going nowhere. Like Hearst's intervention in Marion Davies' career, Hughes got Fontaine the lead in Ray's "Born To Be Bad" and then meddled in the production to insure that the film became a promotional vehicle for her.

Whatever Ray may have thought of this it was not a complete disaster. Although the 32 year- old Fontaine is not credible in the role of a young business school student, if you suspend disbelief about the age factor, her performance is the equal of Anne Baxter's in "All About Eve". The same thing could be said of Davies; while her career was mismanaged by Hearst's inappropriate casting, her talent was still able to shine through.

Although not given final cut, Ray somehow was able to turn "Born To Be Bad" into a self- parodying melodrama that reflected much of the Hughes-Fontaine relationship. Even making Fontaine's mark (wealthy Curtis Carey-played by Zachary Scott) into a Hughes look- alike, complete with pencil mustache and a passion for flying.

Unlike Orsen Welles, Ray made a lot of women's pictures, a quality "Citizen Kane" does not share with "Born To Be Bad". Fontaine plays master manipulator Christabel Caine (not Kane), not quite a sociopath but a woman with little sign of a conscience. Unlike most of these women's pictures, it is the men who she has trouble fooling with her innocent act. Cunning gay artist Gobby (Mel Ferrer)) finds her a kindred spirit and novelist Nick (Robert Ryan) is turned on by her greed and lack of moral/ethical boundaries.

Ray has Fontaine play the character in a nice self-parodying style that actually makes her somewhat sympathetic to the viewer, at least for those who can take a guilty pleasure watching her turn on the charm. Unlike her sister, the eternally earthy Olivia deHavilland, age made Fontaine brittle and well suited to villainess roles. With cute little smiles and feigned reaction shots Fontaine keeps the film vicious for its entire length.

Like Ray's "Johnny Guitar", this is a film about two women, one good and one bad (there is no subtlety), who vie for the same man. It is a battle of Joans, as Donna is played by gorgeous Joan Leslie ("Sgt. York"). Donna is a publishing house editor, postwar America was still adjusting to the vocational progress women had made during the war. But the evil Christabel explicitly rejects career opportunities (one can't imagine her contributing to the war effort) in favor of setting herself up for life by landing a rich husband she can set up for a lucrative divorce settlement.

Leslie and Ferrer are especially good in the film. Leslie gives the only restrained performance, which is more powerful because it contrasts so sharply with the overplayed performances Ray gets from the rest of his cast.

Then again, what do I know? I'm only a child.

Nicholas Ray's career remains unique in its peaks and valleys, but his work has never been dull. Even A WOMAN'S SECRET stirs memories, notably from the performance of his then-wife Gloria Grahame. BORN TO BE BAD is an "almost" -- its depiction of the New York theatrical lifestyle on on-target, down to the living quarters. And its characters ring true. Still, the plot, if taken apart, is a muddle in the middle. Nonetheless, Ray has provided strong mise en scene, and offered an underrated star like JOAN LESLIE an opportunity to show how truthful and relaxed a performer she was. Her performance is almost equalled by that of MEL FERRER as the "probably-gay" character. In her role, JOAN FONTAINE, an excellent actress, is able to convey the seven-faced facets of a woman who misuses friendships, romance, and opportunity... all for her benefit. ROBERT RYAN, as ever, offers a solid performance though his character is far less defined. and ZACHARY SCOTT does well too. Ray's use of camera angles, lighting, etal. may seem commonplace, but there is careful use of everything involved. But what is remembered, when all is said and done, is the work of JOAN LESLIE as the put-upon fiance. It is performances like hers that are ignored... but that are enormously difficult to bring across accurately. Hers is the pilot light that keeps BORN TO BE BAD intriguing.

If you've enjoyed Joan Fontaine's endearing performances in REBECCA or SUSPICION, check out this movie for an entirely different turn of character.

Joan plays Christabel, a woman with nice curves who's got all the angles, too. She's a classic manipulator, and the fun of the movie is watching her try to keep up her false appearances as she runs recklessly through the lives around her -- society friends, sick relatives, a thin-mustached rich playboy, and the rugged novelist guy who sees through her and loves her still.

The performance is one of shifting eyes, deceptive wheels turning inside the lovely Christabel's head, trying to recall which lie she told to whom. Fontaine retains a sense of mystery about her, because you keep wondering to what end is all this manipulation, anyway -- does Christabel even know? A consummate liar, she also remains a bit sympathetic through it all: you get the sense of someone who has played so many contradictory roles that she's kind of a lost soul.

As for the story itself, it's pretty good; and the supporting characters are merely okay. But really, they're just pins set up for Christabel to upset. Sit back and watch her go.

So, if you're like me and wanted to reach out and protect Joan in her Hitchcock movies, try BORN TO BE BAD. She's just as lovely (those doe-eyes will make you want to believe her) -- only hold onto your heart, and your wallet.

Joan Fontaine plays a real conniver hiding beneath a soft exterior in "Born to Be Bad," also starring Robert Ryan, Zachary Scott, Mel Ferrer, and Joan Leslie. Fontaine is Christabel, a young woman from the poor side of the family who comes to town to work for her Uncle John once his assistant (Leslie) has married a wealthy, eligible bachelor Curtis (Scott). Fontaine sets her sights on the big money right away but finds herself in the heavy clinches with an author (Ryan) who's in love with her. She's reminiscent in her way of a non-show biz Eve Harrington.

Using her soft voice and all that gossamer femininity, Christabel manages, with an innuendo here, an innuendo there, a suggestion here, a hint there - to totally break up the engaged couple and drive Joan Leslie right out of town. Since Christabel has dropped out of business school, her uncle says she can't work for him and needs to return home. In a panic, she throws herself at Curtis at a ball and wins him. The question then is, what did she win? What did he lose? This potboiler was directed by Nicholas Ray, and I have to believe the man had a sense of humor. Otherwise, how do you account for those love scenes? Every time a man went to kiss Fontaine, he swept her around and dipped her, nearly breaking her neck as the music crescendos. Then there were the shots of Joan, her face in a state of rapture, as she realized she was getting what she wanted. Very campy.

Joan Fontaine is excellent in the role, very sweet in the beginning but becoming austere after she marries Curtis. It's a subtle change but definitely demonstrates her acting ability. She looks lovely in a variety of gowns and dresses. Robert Ryan is extremely handsome in this, as well as charming, funny, and a real catch. His character sees right through Christabel but wants her anyway. The acting is uniformly good. Mel Ferrer plays an artist who also has Christabel's number and paints her portrait.

"Born to Be Bad" is fun to watch though it's certainly not Ray's best work. I do think one has to allow for the fact that he saw this as a real potboiler and directed it the way he did on purpose. If you can't beat 'em - and with this script, how could he - join 'em.

By the way, there's a mistake in the letter that Christabel leaves for Curtis.

This is a soap opera movie of sorts. The plot twists and dialog at times is HIGHLY reminiscent of a soap. However, due to really good acting, particularly by Robert Ryan and Zachary Scott, this movie rises a little above the plot and makes it worth watching. Now, I cannot imagine teens or those with a need for explosions and kooky dialog being impressed by the film and there are no scantily-clad bimbos either. But, for someone who appreciates good acting and older movies, it is very good. Should you rush out to rent it? Probably not. But should it come on Turner Classic Movies or some other channel, I recommend you give it a look. It's worth it.

Nicholas Ray directed some interesting features back in the day, but few as interesting and engrossing as Born To Be Bad. I'm surprised with the beginning of the McCarthy Era and the omnipotent Code in place this one got out.

For one thing the bad girl doesn't come out so bad in the end. Joan Fontaine plays the scheming bad girl although like Eve Harrington she doesn't appear so bad at first. A guest to the wedding of friend Joan Leslie and the rich Zachary Scott she winds up stealing Scott away.

Fontaine is quite clever how she does it. Scott has a rich man's paranoia of being loved and wanted only for his money. She plays him like a piccolo where Leslie is concerned.

Still she's a girl who wants it all and bad boy Robert Ryan is her cup of tea. He sees her exactly for what she is but she does get his hormones racing.

Born To Be Bad is a most adult drama in a G rated era. In fact during that era when the government was on a search and destroy mission against gays in the military and government service Mel Ferrer as portrait painter confidante to all except Ryan in the film was about as daringly gay as you could get without an outright label. Ferrer has some priceless scenes and some great lines, especially the finale which he shares with Fontaine.

This one is a keeper. Do not miss Born To Be Bad if broadcast.

Made in 1950, this little gem was no doubt overshadowed by All About Eve (1950), the movie that made Anne Baxter and which also won six Academy Awards. The latter is, of course, a longer and more complex narrative, but both are fine movies. This was Nicholas Ray's sixth directorial effort, after Knock On Any Door (1949), In A Lonely Place (1950) and a few others.

No awards for Born To Be Bad though, but both stories have essentially the same theme: how a scheming woman sets out to get what she wants, and at any cost. Well, that theme has been done many times of course, but this (and Eve) stand out.

The narrative is straightforward: Christabel (Joan Fontaine) arrives on the social scene in San Francisco to make a name for herself. She latches onto Curtis Carey (Zachary Scott), the fiancée of her cousin Donna (Joan Leslie), succeeds in disrupting their marriage plans and then persuades Curtis to marry her. And, all the while she's in love with Nick Bradley (Robert Ryan) who is, in one sense, just as ruthless as she: an ambitious author determined to get recognition. Nick -- poor fool -- loves Christabel but also sees her for what she is. But, as you know, you can't fool all the people all the time; so eventually, Christabel gets her comeuppance for stealing Curtis from Donna while playing around with Nick at the same time...

In and around all of this pot-boiling is Gobby (the always effective Mel Ferrer), the artist who watches the foibles of humankind with cynical, but not unkind, objectivity (the role is, of course, the one that puts the viewer...er...in the picture).

The cast is uniformly excellent, although I have rarely liked Joan Fontaine (her sister, Olivia de Havilland was the better of the two, I think) as an actress. Having said that, I must say, however, that she excels in the role of the scheming femme fatale – she is truly hateful, and does it well. Robert Ryan is always good (at least in the movies of this era) and plays the hungry author like a wolf tearing at lambs; Zachary Scott is well cast as the duped husband. Joan Leslie is adequate but outshone by the duplicity of the role Joan Fontaine played to the hilt.

The most effective actor, however, is Mel Ferrer who verbally jousts with everybody, and delivers some of the most effective lines in the movie – although Robert Ryan has his fair share of wicked one liners also (e.g. in reference to Christabel, Nick muses to himself, "If she played her cards right, she could win me!" Towards the finale, he says to her: "I love you so much I wish I liked you!"). See this movie for the dialog, if nothing else. You won't be disappointed... promise.

So, why didn't this film get the recognition it deserved? Well, it came from RKO studios, which, at that time, was owned by Howard Hughes, a multi-millionaire who wasn't much liked by any of the Hollywood moguls. Hence, at a guess, I'd say favorable distribution and advertising throughout USA was probably lacking...

BORN TO BE BAD is a film featuring the lovely Joan Fontaine in the role of a femme fatale who works her way between various male figures, destroying each of them in turn. She's the original adulteress - the character is a thoroughly vindictive one despite the outer niceties - and it's clear from the very beginning that Fontaine just isn't right for the role. You could see somebody like Bette Davis playing this, but Fontaine doesn't really convince - you get the feeling she hasn't got a mean bone in her body.

Otherwise, BORN TO BE BAD is a fairly straightforward type of melodrama, with solid direction from Nicholas Ray but nothing much else to distinguish it from plenty of others. There are a couple of nice supporting roles for Mel Ferrer and Robert Ryan, but the plot consistently fails to ignite and the ending is more of a damp squib than a real firework.

The film's title typifies Joan Fontaine's character Christabel who does not have a sincere bone in her body and does whatever it takes to get what she wants and then once she has it, turns cold and conniving as she continues to be driven by what she wants without regard for what she has. Set in San Francisco, Christabel shows up at her cousin Donna's (Joan Leslie) apartment and in a series of great scenes where she meets Donna's wealthy fiancée Curtis (Zachary Scott) and practically immediately sets out to win him and his money (which is what she really wants) for herself. She seeks to be accepted into this well off and sophisticated crowd which includes Robert Ryan as an intellectual and writer as well as Mel Ferrer as a painter. Normally a jilted woman would be distraught but Joan Leslie as Donna takes it for what it is and flies off to work in London, leaving Scott with Fontaine and Fontaine with Ryan. The marriage is classic and director Nicholas Ray hits some great moments between Scott and Fontaine as she keeps him at arm's length giving him just enough affection to appease him but saving the best for Ryan. When it unravels for Fontaine she, like Joan Leslie's Donna, never loses her cool.

BORN TO BE BAD is a flawed movie about orphaned young woman Christabel Caine (Joan Fontaine) who comes to stay with rich cousin Curtis Carey (Zachary Scott) and manages to break up his engagement through feigned sweetness while engaging in an affair with promising writer Nick Bradley (Robert Ryan). Eventually, Christabel drops Nick and opportunistically marries the newly-available Curtis. It all seems too easy. Apparently, she really loves Nick, but loves money more. Or something like that. As much as I love Joan Fontaine, I had a hard time with this soap opera of a movie for many reasons.

For one thing, Nick is so intolerably smug and arrogant that the part almost seems to be played for laughs by Ryan with lines like, "Have I told you lately how much you love me?" What could anybody possibly see in this guy? Christabel Caine herself is played too sweetly, and it is hard to imagine her as the scheming gold-digger, even though we know she is. Mel Ferrer plays a painter who smirks a lot, but doesn't really add any value to the picture. At least the movie seems to have gotten enough notice to be believably spoofed by Carol Burnett as "Raised to be Rotten," but I think that it parodies itself effectively enough without Burnett's help. The fact that Howard Hughes meddled significantly in the production of this movie goes a long way toward explaining what went wrong with the picture. Director Nicholas Ray (REBEL WITHOUT A CAUSE) can justifiably claim a mulligan with this picture. The rest of his career is noteworthy.

To her credit, Fontaine later claimed that "the only acceptable part of the film was my wardrobe." It is not her worst film (MAID'S NIGHT OUT has that honor in my book), but neither is it a very worthwhile movie to see unless you are a die-hard Fontaine fan.

After years of watching films and studying their art for my own pleasure, I've decided that some of the most interesting and least appreciated movies are those released under the RKO logo. Born to be Bad is a prime example. Made in 1948-49 (not released until '50) under the aegis of Howard Hughes while he was alternately pursuing and manipulating Joan Fontaine, this movie has a unique, non -studio look. Very little location work was done, but doesn't it feel like San Francisco (more than Vertigo!). Literate script, intelligent casting, stylish sets and costumes (New York designer Hattie Carnegie for Fontaine, RKO in-house man Michael Woulfe for Joan Leslie) add up to an engrossing, adult 90 minutes. Speaking of adult; there's been some comments here about the Mel Ferrer character: "Is he or isn't he gay?" IS THERE ANY DOUBT? And check out one scene, unbelievably adult for 1950 Hollywood: When Fontaine returns home after a torrid sexual encounter with Robert Ryan, she quickly takes a hot bath before husband Zachary Scott returns home. Scent of another man? Pretty hot stuff in retrospect. Check this movie out when you get the opportunity!

Nicholas Ray's heroes often have problems with their family:Plato ("rebel without a cause" ) , Davey("Run for cover")and Turkey ("Johnny Guitar" are in search of parents.Judy ("rebel") has parents who do not care about her whereas Jim (same film) is ashamed of his father washing up.On the contrary ,Ed's son ("larger than life" ) has an over possessive dad ...

Christabel is an orphan .She's got a wealthy uncle and an aunt.The way she despises this old woman is astonishing :" Curtis and I ,we would like you to stay with us a little longer but you know..." or "Oh don't worry she'll be alright" .Although she never talks about her parents ,Christabel has a grudge against the whole world.She was born to be bad ,her purpose is not to be happy but to make sure that the others are not.Like a spoiled child,as soon as she gets something,she wants something else (the ending is revealing).

Joan Fontaine,cast against type,portrays a devil with the face of an angel.She never talks loud .The way she uses to break Curtis/Donna 's relationship is sheer Machiavelism: "why not put her to the test?she does not want to marry you for your money but...'.Christabel is perhaps the most perfidious woman -along Mercedes McCambridge's Emma in "Johnny Guitar" - in Ray's whole work.

Her portrait (by Mel Ferrer cast as a painter) provides the movie with its only comic relief.Its price rises as Christabel makes the headlines .Two years later,Billy Wilder would use the same gag in "Ace in the hole" aka "the big carnival" .

Saw this again recently after a couple of decades, and what sticks is Joan Fontaine--sweet, pretty, and evil. She's Christabel, the rootless blonde who turns up in San Francisco and moves in with lovely Joan Leslie, and takes over her boyfriend (Zachary Scott, not quite right for this part) and her life. It is, as several have commented, All About Eve-like, but more overt: How many times does Nicholas Ray close a scene with Fontaine, smiling to herself in an evil, I've-done-more-mischief, way? Robert Ryan's also on hand, virile as all getout, and Mel Ferrer is a quipping artist who gets most of the good lines; commenters who see the character as gay must have overlooked his line to Fontaine about how when he's not painting, he spends most of his time trying to sell himself as harmless to suspicious husbands. Some nice location photography, and the screenplay's not out of the top drawer, but it will do. Fontaine looks like she's having fun, and she seldom got to play such a baddie. Plus, it's distinctly un-Breen-Code-like--while Christabel is found out and humiliated, she gets away with quite a lot.

Taking her 1940's films into consideration the only thing Joan Fontaine might have been born to be was a mouse or, as she was portrayed in 1939's "The Women", a deer but as Joan got older Joan got bolder and by 1950 she was "Born to be Bad" and was holding the likes of Robert Ryan, Zachary Scott and Mel Ferrer in thrall. The director of this 'woman's picture' was Nicholas Ray who brought a steely edge to proceedings. Actually I've always thought Joan was born to play a bitch; that patrician air of hers was never suited to being simply 'nice' and it was to her credit that she could slip so easily between darkness and light, Here, though, she's almost too good to be true and I'm surprised no-one, other than good girl Joan Leslie, saw through her scheming earlier. Performances throughout are uniformly good; even Ferrer is first-rate here, (he hadn't yet developed that stiffness that marred his later work). Interestingly his character is probably meant to be gay but you really have to read between the lines and use a lot of imagination to get that. From a novel called "All Kneeling" by Ann Parrish.

The story and the movie are (almost) great. Almost great because it is difficult to imagine Joan Fontaine more attractive than the wonderful Joan Leslie, which is perfectly classy and charming here. Moreover Joan Fontaine always seems to smile in every scene like if her smile was artificially frozen. Aside this miscast (Joan Leslie should have been cast as Christabel), every part of the movie is great, with the usual excellent performance from Robert Ryan.

This is another "woman's picture" which passes off for a noir, despite notable credentials to that effect – director Ray, cinematographer Nicholas Musuraca and co-stars Robert Ryan and Zachary Scott!

Again, the narrative seems not to have inspired Ray particularly; moreover, its greatest fault lies in the miscasting of its central role – Joan Fontaine usually plays reticent ingenue types but, here, unconvincingly essays the role of a femme fatale. On the plus side, however, the rest of the cast is excellent – Ryan and Scott are both solid as essentially stock characters (in particular, the former's cynical wit gives the film several of its best moments), lovely Joan Leslie is above the typically bland good-girl type, while Mel Ferrer makes an early impression as a struggling young painter whose portrait of Fontaine (its value increasing with each new scandal she's involved in!) conveniently becomes his meal ticket.

The plot, therefore, is entirely predictable…except that the leading lady is allowed to get away with it at the end (suggesting rather belatedly – and lamely – that the whole thing was intended as tongue-in-cheek, but which may better explain its production difficulties that saw the project canceled and re-scheduled twice over the period of four years!); even so, the film itself remains eminently watchable through the sheer professionalism with which it is put across.

Joan Fontaine as proper and delicate country girl Cristobal tramples all before her in Nick Ray's noir that takes place in a a better part of town Born to Bad. It's like the title says and Miss Fontaine does not disappoint.

Cristobal has come to the big city to visit but wouldn't you know it shows up a day early, just in time for the party that evening. She captivates and quickly finds herself in the arms of a promising writer but soon sets her sights on roomie Donna's wealthy boyfriend.

Ray's opening scene in a hallway of a chic Manhattan walk-up is frenetic and energizing. Longer than wider with people entering offstage via rooms he quickly establishes players, touching it up with telling incidentals like the first indication Cristobal is in the building.. His pace complements Cristobals rise as she rushes to the top and races around trying to control everyone and everything.

Fontaine's feigned sincerity accented by her conciliatory beauty is enraging, frustrating and fascinating to watch. She's one classy noir fatale that get's results and doesn't even pack a rod; so much it takes the likes of Robert Ryan to set things straight with her. A supporting set of doormats: Zachary Scott as the weakling husband, Joan Leslie the betrayed ex and Virginia Farmer as befuddled Aunt Clara fall prey while Mel Ferrer as a moocher artist who knows his place and thus on to Cristobal round out this well acted benign noir among the smart set with an off beat fatale as deceptively hard boiled as the best of them.

From Anne Parrish's book about a manipulative woman who moves in with a girlfriend and proceeds to wreck the poor thing's love life. Stodgy, urbane soap opera with gossipy asides, targeted at female audiences of the day but really too nonsensical to be of much interest any longer. Director Nicholas Ray curiously smooths out all the tension in the plotting, and none of the characters are particularly well-defined. Robert Ryan gives the proceedings a little lift as a gruff, sexy writer, Joan Leslie has a few strong scenes as an unsuspecting victim, but Joan Fontaine is rather colorless in the lead. Glossy and inert. ** from ****