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Jezebel

Jezebel

Drama · Romance · 1938

In 1850s Louisiana, the willfulness of a tempestuous Southern belle threatens to destroy all who care for her.

Movie details

Jezebel

“Half angel, half siren, all woman.”

1938 Drama · Romance 1h 43m

Critical arithmetic

The consensus, allegedly.

IMDb

7.4 / 10

15.8K votes

Rotten Tomatoes

96 %

Tomatometer

Metacritic

82 / 100

Metascore

TMDB

7.0 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

In 1850s Louisiana, the willfulness of a tempestuous Southern belle threatens to destroy all who care for her.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Jezebel?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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A married farmer falls under the spell of a slatternly woman from the city, who tries to convince him to drown his wife.

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After 29-year-old Adaline recovers from a nearly lethal accident, she inexplicably stops growing older. As the years stretch on and on, Adaline keeps her secret to herself until she meets a man who changes her life.

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Where it lives

Watch in your region.

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

William Wyler

Written by

John Huston · Robert Buckner · Clements Ripley · Abem Finkel

Bette Davis

Bette Davis

Julie Marsden

Henry Fonda

Henry Fonda

Preston Dillard

George Brent

George Brent

Buck Cantrell

Margaret Lindsay

Margaret Lindsay

Amy Bradford Dillard

Donald Crisp

Donald Crisp

Dr. Livingstone

Fay Bainter

Fay Bainter

Aunt Belle Massey

Richard Cromwell

Richard Cromwell

Ted Dillard

Court is in session

Put Jezebel on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.