Flyerplesys Perfectly adorable

Ensofter Overrated and overhyped

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

dougdoepke Interesting movie for its subtext, which amounts to an evolving bond of sisterhood among a nightclub's crew of hookers that includes Davis's Mary. Because it's Production Code 1937, the girls are described as hostesses rather than what they really are. For example, note how Betty (Bryan) says she got a $100 bill from her gentleman for "cab fare" and not for services rendered. At the same time, being 1930's Warner Bros., I kept expecting the gangster element to take over. But, it doesn't, no shooting at all, despite the iconic presence of Bogart. Still it's early in his career and his role is limited to an Ass't DA, instead. There's no real plot, rather character progression among the girls makes up the real core, even though it occurs inside Vanning's (Ciannelli) gangster context. Davis does well in the lead, her theatrical tendencies pretty well under control. But, I especially like the plain-faced Emmy Lou (Jewell) who injects genuine feeling into her role as a woman marked for death. I also like the way none of the girls are made glamorous. They're attractive, but in conventional ways, as it should be.All in all, the 90-minutes would amount to a rather tame and forgettable gangster flick without this unusual subtext. It's that emergent fellow-feeling among the apparently disreputable that makes the film worth catching up with. Note too, how no one woman, even star Davis, leads the others into the bonding, a common Hollywood cliche elevating the "hero". Instead the sense of community grows organically out of common adversity. I expect much of that departure is due to leftist screenwriter Robert Rossen, who later fell afoul of the notorious Hollywood blacklist. And, oh yes, ignore Bogart's PC induced come-on that he tenders to Davis at film's end as though a conventional pairing up is somehow needed. The invite simply comes out of the blue like a clumsy last minute contrivance. Instead, the real ending is the final shot of the sisterhood arm-in-arm entering the mists of an uncertain future, but with a new-found bonding. I expect that's Rossen last second trumping of the imperious Code.

alexanderdavies-99382 1937 was a major turning point for the career of Bette Davis. After spending the last few years in making films for the studio that didn't always benefit her, Davis finally landed the kind of film which would stretch her acting ability most effectively. "Marked Woman" is such a film. This is about as brutal and as realistic as it gets and the film supplies the viewers with plenty of gritty and violent entertainment. "Warner Bros." must have known they were pushing the envelope somewhat with "Marked Woman." Such violent content was unseen in those far more Conservative days but it was a risk that paid off. This is a fine film in every way and I'm sure Humphrey Bogart would have enjoyed the challenge regarding his career. From 1936 til 1940, he played mainly one- dimensional villains. Here, he is cast on the right side of the law for a change. Bogart plays the Assistant District Attorney who is determined to bring about the downfall of a notorious Mafia pimp and godfather. Bette Davis plays one of several call girls to the Mafia Don who initially refuses to help Bogart. However, due to the brutal killing of her younger sister and her own savage beating, Davis decides to finally bring about the decline of her evil boss. The scene where Davis is permanently scarred and assaulted is something that can rival any film made by any studio in Hollywood. I'd wager that the American Film Censors would have frowned down upon some material. Nevertheless, although the scene in question is only heard and not seen, it carries considerable shock value. It is Bette Davis and Humphrey Bogart who share the acting honours. The latter delivers a brilliantly written deliberation in one of the closing scenes which takes place in court. "Marked Woman" isn't a typical gangster film by the studio, it is more of a drama with the emphasis on character. The entire film carries an air of hopelessness for the most part but that is how it is meant to be. Applying a word like "Entertainment" isn't correct but the film certainly enlightens and also informs its audience. This is no bit of escapism.

Stephen Alfieri In more skillful hands "Marked Woman" might have been a classic Warners picture with a very good Bette Davis and Humphrey Bogart, still early in their careers, showing signs of the major stars that they would, not too soon after this film, become.However, the director Lloyd Bacon, was more widely known for his direction of musicals (Footlight Parade, 42nd Street, Gold Diggers of 1937), one of the writers (Robert Rossen) made his film debut with this film, the other writer (Abem Finkel) had his best work in the years ahead. None of them were up to the task of taking a story "fresh from the headlines" and turn it into a compelling drama. It's not even good melodrama.The story of an up and coming DA (Bogart) trying to put away a gangster with the help of 5 "hostesses". Another story involving one of the hostesses(Davis) and her younger, smarter sister. The story of 5 desperate woman trying to scratch out a meager living, by taking advantage of gentlemen who are only too happy to part with their money, if it means having a lovely girl with them all evening. The problem is, taken separately or tied in all together, none of these stories is particularly interesting.It doesn't help that four of the five hostesses are as exciting as watching a bowl of oatmeal. I won't say who is the worst, it doesn't matter, they are all bad. Of course part of the problem is that they don't have very well developed characters to try to do anything with.If you are a fan of Bogart and/or Davis, rent this one, just to get a good look at where they were in their development. But if you are not a fan of them, don't bother, don't waste your time.5 out of 10

Michael_Elliott Marked Woman (1937) *** (out of 4) A prosecutor (Humphrey Bogart) tries to get a key witness (Bette Davis) to testify against her gangster boss. The first hour of this film was only so-so but it certainly picked up in the final half hour when the gangsters start going after Davis and her younger sister. I think the story is just standard Warner stuff but the performances by Davis and Bogart makes this a small classic that makes for a good time. Davis is very good in her role, although I felt she came off a tad bit campy whenever she was playing anger. A few of her anger scenes made me smile but for the rest of the time she's on fire. Bogart is also very good in his role and it's always fun seeing him play a clean good guy without any baggage. The supporting cast is also in good form and features nice performances from Lola Lane, Isabel Jewell, Eduardo Ciannelli and Mayo Methot (future Mrs. Bogart). Cagney's buddy Allen Jenkins has a fun cameo. The final courtroom scenes are very well handled with some nice cinematography including a great shot during Bogart's closing statement where the camera swoops down on him.