Lack of good storyline.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Jezebel is a reasonable romance flick, that is engaging and well acted.There is no great story and it is rather unendearing and cold. However, I watched on with interest. Of course she is angry, why would he bring another woman to the house of the girl he left at the doorstep. There isn't a lot of depth in the characters as there is too much blather, so I don't know what I'm suppose to get out of this.

. . . misbegotten soap opera, GONE WITH THE WIND, since JEZEBEL courageously blows the whistle on the Evils of Black Slavery while WIND set back American Race Relations at least a century (prompting umpteen lynchings, to boot). Even this summer, 76 years after that ill WIND first blew by us, GWTW fans are waltzing into Black Churches attempting to prove that Black Lives Don't Matter; anyone who can read the opening scroll of GWTW without standing up to scream at those Treason-praising lies needs to "self-deport" from America forthwith! Warner Bros. filmed JEZEBEL in Black & White, because Slavery and Race Relations are Black & White issues, hardly fit to be gussied up and glossed over in Technicolor. JEZEBEL features the top movie star of the late 1930s--Bette Davis--because of the serious nature of these issues (JEZEBEL producer Warner Bros. felt no need to cast a mentally unhealthy chick in the lead to garner unmerited publicity). Viewers cannot help seeing JEZEBEL's two mansions without thinking of the thousands of Racist Slave Floggings, brutal "wings-clipping" amputations, and "routine" bleeding-finger cotton-picking marathon work days slaving in the fields that made these germ-infested palaces possible. Henry Fonda's "Pres" character makes sure that his fellow Southerners know not only that theirs is a Lost Cause, but he explains WHY it is lost (unlike Clark Gable's immoral airhead GWTW playboy, Rhett Butler).

What a great movie. This movie is far superior to that other movie about the antebellum South that gets so much attention today. This movie contains all the elements that makes it great cinema: a coherent, plausible plot; excellent background music; excellent treatment of social and political themes; and most of all, powerful acting. Taking This is Bette Davis's greatest performance. She captures the essence of the vain, spoiled Southern belle of the antebellum era. She projects a haughtiness that belies the character's underlying insecurity. The moral, political and ethical conflicts in the story are presented honestly and forthrightly. The title of this movie befits the story. The performances of the rest of the cast are also noteworthy, especially Henry Fonda's, who is perfect as Davis's love interest and foil. William Wyler's direction is flawless; the cinematography is exquisite, and the nature of the story profound. This movie represents the quintessential example of cinematic art at its best.

JEZEBEL (1938) is one of the great and enduring Warner Bros. Bette Davis classics, and alongside "The Old Maid" - made the following year - is my own favourite Davis movie. From a flopped play by Owen Davis Snr. It was produced for the studio by Henry Blanke and beautifully written for the screen by Clements Ripley, Abem Finkel and - feeling his way along in the business - a young John Huston. Genius cinematographer Ernest Haller was behind the camera bringing the vivid Art Direction of Robert Hass to life and the masterful direction was in the safe hands of William Wyler.A splendid sense of time and place is immediately established at the very beginning with the 1852 setting in antebellum Louisanna. Bette Davis is Julie Marsden the high spirited southern socialite who toys playfully with the feelings of her male suitors especially her young banker fiancé Preston Dillard (Henry Fonda). But he tires of her controlling personality and her irritating misdeeds such as storming into his bank demanding to see him on a trivial matter as he attends an important board meeting and then her insistence on wearing a RED dress to the Olympus Ball much to the chagrin of those who adhere to the strict tradition to only wear white ("You can't wear red to the Olympus Ball"! asserts an astonished Pres)). But wear it she does in defiance! However the Ball is a sensational sequence as Julie and Pres become a spectacle when all in attendance stand around and stare in disbelief as they waltz alone in the middle of the floor. Later during their uneven relationship Pres has to go North on business. He returns after about a year but he is not alone. He is now accompanied by a new woman in his life....... his wife. Counting the days for Pres's return Julie is in utter shock when he introduces Amy (Margret Lindsay) to her as his wife.("You're funnin'!" A horrified Julie exclaims - "Hardly!" responds a sheepish Pres). The picture climaxes with the dreaded Yellow Jack fever breaking out across the South and Pres being struck down with the deadly disease. In a brilliant confrontation with Amy Julie manages to convince her that it must be her, and not his wife, who should accompany Pres to the fever death camp. The picture ends in an extraordinary and harrowing final scene as Julie comforts the dying Pres on one of the many wagons in the caravan heading out of the city to the fever camp.The acting throughout is superb from all concerned topped with a blistering Acadamy Award winning performance from Davis (she was assigned the role so as to allay any disappointment she might harbour with Warners for not loaning her out to play Scarlet O'Hara - a part she dearly wanted to play). Excellent too is the young Henry Fonda, Fay Bainter in her best supporting Award winning role as the gentle and anxious Aunt Belle and George Brent is impressive (as always) as the ill-fated rival Buck Cantrell. The movie's atmosphere is quite stunning with the stark black & white cinematography, the vibrant looking sets and the supreme nominated score by Max Steiner. The composer's main theme is beautifully arranged as a beguiling waltz for the infamous ballroom scene. And in the final sequence his prowess as film's great dramatist is powerfully demonstrated in the chilling dirge-like march he wrote (complete with spirited female chorus) for the fever wagons, with their cargo of dead and dying, as they struggle through the streets of New Orleans on their way to their grisly destination. JEZEBEL was one of 18 scores the great composer wrote for Bette Davis' films which included "The Old Maid"(1939), "Dark Victory" (1939), "The Letter"(1940) and most memorably "Now Voyager" (1942) which brought the composer the second of his three Acadamy Awards. The great actress once remarked of the composer "At Warner Bros. Max knew more about drama than any of us".Max Steiner's music, William Wyler's adroit direction, Ernest Haller's stunning cinematography and of course Bette Davis's riveting performance all jell to make JEZEBEL one of Hollywood's outstanding and unforgettable motion pictures of all time.