The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

I love Bette Davis, but by 1952, just as with her character in this movie, her best days were behind her. But, that didn't mean one couldn't enjoy a good Bette Davis performance.The main problem I have with this film is not Miss Davis (my all-time favorite female actress), but with her co-star -- Sterling Hayden. If ever there was a limited actor, he was it. The desk I'm sitting at is less wooden than he was.The second problem I have with this film, and only slightly less significant is the script. At first it seems plausible. An older Academy Award winning actress is suddenly on the skids, and she is reaching her breaking point (which might have been a good title for the film). But why drop into the depths when television was alive and well, and yes, although "Playhouse 90" was not around yet, there were dramatic television series on the air already, and quite a few actors and actresses (including people like Ronald Colman) were beginning to do work in television. But, that logical storyline wouldn't have made a dramatic film, even if it had been based on reality. And then there's the ending of the film. She basically kidnaps her own daughter (gee, no problem there) because she has suddenly realized that true love conquers all, and heads off to a relationship which is outside of show biz. Really, that's sort of pathetic.But back to Bette Davis. Her performance here is, in my view, flawed. There are scenes with brilliance. And there are scenes where I really felt she was "overacting".Natalie Wood is here as the daughter, but isn't given much of do of significance, but wow -- this was his 17th film! It was good to see an older Minor Watson here...always a welcome character actor.I see this film as abounding in transition. Bette Davis transitioning into films where she played older character. But even the film industry transitioning (coarsely at times) into what it saw as more realistic and gritty film-making. But is this a top-notch film? No. Good, but not great.

Watching The Star I wondered how close to him it all was for Davis. There's a scene in the end where it gets meta and you can almost see Davis as Margaret hearing the script storyline that she is offered. Regardless, this is a fine film and it has Davis working with her usual spark and unlikeable presence. But like always, she knows how to make you root for her. I also think the running time, while seems short, is pretty much the perfect length for the story the film is trying to tell. This is a problem I thought Mr. Skeffington had, way too long for its own good. So yeah, if you want to seek out all of Davis this is still a fine entry and a required one really.

Desperate for money, fading movie queen Bette Davis (as Margaret "Maggie" Elliot) reluctantly auctions off some of her possessions. What she really wants is one good picture; but, Ms. Davis is thought too old for the kind of films audiences attend. When her fresh-faced daughter Natalie Wood (as Gretchen) asks if she's "washed up," mother Davis says she's making a movie in a few weeks. But, there is no film deal. Sadly, Davis picks up her Academy Award and says, "C'mon Oscar, let's you and me get drunk!" "You don't seem to know why I am!" screams a drunken Davis, after reckless driving lands her in jail. She is bailed out by hunky ex-actor Sterling Hayden (as Jim Johannson), an actor she once helped get a movie role. He tries to get Davis back on her feat, and encourages her to take a job as a saleslady in a department store. The two go sailing with little Natalie and look like they are forming a nice family of three. But, Davis wants to make a comeback, and reestablish herself as "The Star" of Hollywood.This film was purportedly prepared for Joan Crawford, who would seem more suited to this particular character. In real life, Davis would have embraced the "older sister" part addressed in the storyline; and, Crawford would have done to the role exactly what Davis' character does. Both actresses knew their routines. There is nothing revelatory here - but Davis, who had the role in her back pocket, is excellent. Her typically fine, and entertaining, work resulted in another "Academy Award" nomination.******* The Star (12/11/52) Stuart Heisler ~ Bette Davis, Sterling Hayden, Natalie Wood, Warner Anderson

"The Star" gives Bette Davis a chance to tear up the screen as a one-time Hollywood legend who's forced to watch her youth and career slowly fade away.The film is pure melodrama and soap opera, but this is Bette Davis we're talking about here, and the material was never found that she couldn't sell if she had half a mind to. One might be tempted to suspect that Davis's performance was semi-autobiographical, but based on what I've read, it sounds like this film is much more reminiscent of Joan Crawford's experiences in Hollywood than Davis's.Sterling Hayden co-stars as the man who makes a woman of Davis, and an adolescent Natalie Wood plays her daughter.The Oscar Davis's character carries around and gets in a car accident with was real and one of the two Davis won earlier in her career.Grade: B-