Among the three Wyler-Davis' collaborations (the others being "little foxes" and "Jezebel" ) "the letter " is their triumph.The repugnance that most of the French critics feel for the great Wyler is one of their major flaws (coming from "les cahiers du cinema " and the stupidity of the nouvelle vague ravings).

"The letter" is a splendor.A screenplay so simple and so effective it's a wonder it grabs us till the last pictures.A first sequence to rival the best of Hitchcock.A feverish sticky deadly atmosphere from the mysterious garden where a malefic full moon shines on Davis' inscrutable face to the seedy place in the Chinese quarter where they smoke opium and where Gale Sondergaard spins a web :in this memorable scene when she forces Davis to kneel down,she almost surpasses the star,which will seem an impossible task to some,and yet..Every time Sondergaard appears on the screen ,she's absolutely terrifying.I was saying that the screenplay was simple ,but that kind of simplicity takes genius and I wish today's stories had this implacable logic.As always in Wyler's works of that era,the ball sequence is a recurring theme (see the admirable scenes of "Wuthering Heights" and "Jezebel" )Thus,the finale scenes revolve around a ball,beginning with Davis's entrance and ending with a view of the dancers from the outside ,à la "Wuthering Heights" .Excellent performances by the whole cast,fabulous directing,particularly in these last pictures ,where Davis is walking through the garden ,under a bad moon rising..You must see "the letter".

This was a pretty simple movie if you think about the plot and the few actors who star in this movie. However, despite such simplicity, this movie is exceptional throughout--particularly the incredible opening scene. In fact, this might just be one of the all-time best opening scenes as Bette Davis very coldly unloads all six chambers of her handgun into her now ex-lover. The utter coldness and thoroughness of this act is extremely shocking. You know that Bette is guilty of murder, but the movie shows how her ultra-decent husband has deluded himself into believing her innocence. And, along the way, a previously decent lawyer illegally helps her beat the rap. Nearly as exciting is the film's conclusion where justice is meted out to the sociopathic Bette.

The film has excellent acting and dialog, but to me the biggest stars are Ms. Davis and her excellent emotional range and the director, William Wyler, who framed and executed this film so well. So many camera shots are simply perfect. It's just an incredibly artistic and beautiful movie.

Love Bette Davis and director William Wyler, Davis has some iconic performances under her belt and Wyler has directed some of the best films there are.

'The Letter' may not quite be Wyler's very best (which is testament to how fabulous his very best are, because 'The Letter' is still brilliant),but it is Davis's best films and one of her greatest ever performances. She is truly magnificent here and there has rarely been a more chilling performance from her. It's not Davis that makes 'The Letter' so great. She has a supporting cast that are more than up to her level. Herbert Marshall's, an actor who works for me and sometimes doesn't, performance is also up there with his best.

Faring best in support are James Stephenson, never better which makes his ultimely death soon after aged just 52 even sadder, and particularly the most sinister performance Gale Sondergaard ever gave (she sends chills down the spine and induces goose bumps).

Further advantages are a taut script, a compelling and suspenseful story, that is unmistakably melodrama but never in an overwrought way and actually pretty tense, and Wyler's superbly controlled direction.

As well as atmospheric photography, the shadows alone are enough to freak one out, sumptuous production design and a hauntingly melodic score written in the most unmistakable style of Max Steiner. The ending is admittedly tacky and comes close to contrivance, but the shock value makes it just about work.

Overall, brilliant. 10/10 Bethany Cox