Irving Rapper's "Deception" reunited the three stars of a much better Bette Davis' vehicle: "Now Voyager". This is a film where all three stars shine equally. "Deception" was based on a play and the adaptation has opened it in unexpected ways. This satisfying melodrama has one thing going for it: the great music one hears throughout the movie, it's highlight being the Korngold Cello concerto, a rarity seldom heard, let alone in films. We are also treated to the beginning of Beethoven's Apassionata sonata as well.

Christine Radcliffe is a musician who gets separated from the love of her life, Karel Novak, one of the best cellist of Europe, before the advent of WWII. Christine comes back to New York, where she becomes the lover of a famous composer, Alexander Hollenius. One day, Christine discovers Karel's name playing in a second class venue in Manhattan, where they are reunited.

Christine doesn't have the nerve to tell Karel about what has happened in the intervening years. It's obvious Christine has done well for herself, as Karel discovers Christine lives in a great apartment, he finds closets full of elegant and expensive clothes, furs, jewelry, which doesn't make sense to him. Little does he know everything has come out of the generosity of Alexander Hollenius, a composer that fell in love with Christine and obviously, became her lover. Christine is coy in not revealing the truth, which keeps interfering with her happiness, until it comes to a head as Hollenius threatens Christine to tell it all to Karel after he plays the concert. It's at that point that Christine realizes she is cornered and must face reality and the fact that she will lose the man she really loves.

Bette Davis made a fine Christine, a woman she was born to play. Ms. Davis is amazing in the film, which unfortunately, is forgotten by all her admirers when comparing this role to her other great screen portraits. Claude Rains, who worked so well with Ms. Davis, gives an incredible performance as the egotistical composer who is afraid to lose his own creation. This has to be one of Mr. Rains' best appearances in a film. Paul Henried is perfect as Karel, the European cellist madly in love with Christine, a woman he thought he had lost forever. Mr. Henried is an elegant figure in this film, something that he projected effortlessly.

Ernest Haller's cinematography greatly enhances all we see on the screen. Mr. Haller was one of the best photographers working in that period, as he clearly shows here. George James Hopkins' sets not only are opulent, but he clearly knew how to get the most of his interior designs.

The film is an engrossing tale that will satisfy the fans of this genre.

Bette Davis and Paul Henreid play ex-lovers who were separated by the war. They both are musicians but he is reputedly a great cellist--just sitting on the edge of worldwide fame. When they become reunited, they marry.

However, since Davis assumed Henreid was killed in the war, she apparently became the mistress of a very odd and controlling composer/conductor (Claude Rains). While they never say that this is the case, she lives in a luxury New York apartment and they strongly implied this again and again. Throughout much of the film, Rains seems on the verge of spilling the truth to Henreid about his new wife but doesn't. Apparently, Rains is waiting--waiting for the best possible time to spring his trap--like a cat pawing at a mouse. Davis just knows that by the end of the film Rains will have ruined Henreid--just for the pleasure of destroying his ex-lover's husband.

The film has very good acting all around, though Davis is miscast. She is a decade too old to be playing the mistress. She was a wonderful actress--just not perfect for this part but she does give it her best. What I really liked about the film, however, wasn't the acting or even the script. The camera work and shadows as well as the music really were exceptional--especially in the big confrontation scene near the end. It has all the polish and style you'd expect from an A-picture from Warner Brothers.

Overall, I recommend the film and enjoyed it. While not nearly as memorable as the three stars' earlier collaboration (NOW, VOYAGER),it is a very good film and one that fans of classic Hollywood really need to see. One minor problem that kept me from giving it an 8 was the ending. After the big confrontation scene with Rains, the film STILL went on and on needlessly--blunting the impact of this great scene. Still, it's good stuff.

The quartet that brought the movie going public Now Voyager, Bette Davis, Paul Henreid, Claude Rains, and director Irving Rapper teamed again to bring us this tale of jealousy and romance with a classical music background. In fact the best thing about Deception is the music in it, the classical classics and the new cello concerto composed for this film by Erich Wolfgang Korngold.

Irving Rapper in addition to Now Voyager also gave Bette Davis another of her really outstanding roles in The Corn Is Green. Sad to say that Deception doesn't quite measure up to those two films though it has its moments. In a Bette Davis picture that's a given.

Paul Henreid's been there and done that in Deception. As he did in Casablanca, Henreid plays a European refugee from Nazism whose fiancé thought he had been killed in the camps. He arrives and is giving a concert on the cello when he and Davis are reunited. Bette is very anxious that they marry.

They do, but Henreid is a bit reluctant and very suspicious when he sees the swell digs she's occupying. Like Ingrid Bergman in Casablanca, Davis has gotten herself mixed up with another man, but as we know everyone behaved as honorably as they could under the circumstances.

But Claude Rains ain't Humphrey Bogart. He plays a world famous composer and one arrogant egotist to boot. Henreid is no slouch in that department and the two of them compete for Davis. Rains is not going to be gallant and step aside, not a bit. In fact he's composed a cello concerto that's perfect for Henreid, but he uses it as a method of torment for him.

As the object between these two Davis has many a Bette Davis moment and in the hands of a less capable actress Deception could get rather tedious. As she does in so many films, she makes the material better than it really is.

But the music, especially the concerto that Korngold composed for the film is just great. Classical music fans should and have loved this film for generations.

Davis's time at Warner Brothers was drawing to a close and Deception is a typical vehicle for her that she uplifts with her presence.