User reviews

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.

One of the few actors of Bette Davis' time who could match her screen intensity was Claude Rains. Paul Henreid is paired with Davis as her true love for another convincing romance. But, the script-stealing scene is between Davis and Rains. Matched penultimately perfect for the picture, Davis and Rains match each other's most intense acting skills during a major bedroom blow-out between them. I live to watch that scene over and again for its acting mastery.

Since Deception is about three classical music artists, the classical music score makes Deception's choice script musically enhanced to a classy degree. I love how Rains takes "the 4th Warner Brother's" acting intensity and levels it with his own. Even Bogie couldn't do that when staged with Davis! Don't miss this tightly wound triangulation with Henreid underplaying himself as his role calls for.

Bette Davis believed her true love Paul Henreid was killed in battle. When he returns, their romance is rekindled But during the time he was believed dead, Bette had become involved with composer Claude Rains. Claude's not very happy losing her to Henreid. So Bette must take steps to ensure he doesn't ruin their happiness.

Paul Henreid is the weak link in this dynamic trio of stars. But, to be fair, he doesn't have the juiciest part. Bette is at her soap operatic best here, serving up her role with a hefty side of ham. Claude Rains owns every scene he's in. Like Bette, the man knew his way around a melodramatic role. Unlike Bette (usually), Rains could keep from going over-the-top. He's a better actor, quite frankly. But stars like Bette Davis and Joan Crawford aren't beloved for their realistic acting. People like them for their enjoyable excesses. They were the precursors to the television soap opera stars that would come decades later.

Wonderful sets and costumes, filmed beautifully. Glamorous production from Warner Bros. Loved the Erich Wolfgang Korngold score, as well as the other classical pieces featured. It's a fine melodrama with touches of film noir. Great performances from Davis and Rains. Fans of both will enjoy this one.

I'll dispense with the details of the plot and move directly to Mr. Rains' performance as Hollenius the composer in this musico-melodrama.

This is his show although Davis and Henreid attempt to hold their own in this film.

His flair for manipulation and deception, hence the title, dominates the film.

He does a great job of it, driving everyone crazy with his shenanigans and jealousy.

The cinematography is well done and the story's setting in the world of post-WW II classical/modern music is interesting.

I noted that early on, for instance, as Henreid finished a performance, audience members asked him who his favorite living composer was..."Sibelius...or Shostakovich...?" No mention of Aaron Copland or the many other composers alive at the time.

Hollenius' work as a composer was a curious mix of tonal, traditional and slightly atonal influences, attempting to display "modern" music but watered down to keep the audience and us interested.

The mimicking of the piano and cello performances by all three actors was fairly well done.

I found it quite interesting too that both Davis and Rains were not "starving artists" like Henreid. Opulent apartments and lifestyles for piano teachers and composers were not common, but these two were well-off in an even garish sense.

This was not the reality of the time in the music world.

I'd recommend this film if you're a Rains or Davis fan. Henreid was not used for his full potential.

Deception, made in 1946, reunited Bette Davis with Paul Heinreid and Claude Rains (Now Voyager) and was directed by Irving Rapper. It is a slow burn; building tension gradually throughout the film until the drama at the end. Bette Davis and Paul Heinreid are both good and reliable with Heinreid convincing as the war damaged European cellist. Davis is good at an emotional level but her performances are rarely flawless and she goes over the top occasionally. She also never entirely convinces as a pianist and artiste - perhaps deliberately. In this film it is Claude Rains who steals the show as the jealous jilted lover, building on the quiet and implacable menace while entertaining. The excruciatingly frustrating scene in the restaurant before the audition is a tour de force. The print on the DVD is a luminous black and white example of that era and great to look at, even on the small screen. Sit back and accept it for what it is, a classic 1940s movie.

How did I never come across Deception (1946) before? It's got to be Claude Rains' most delicious role. He absolutely has a blast playing the grand, tyrannical, jealous composer who hates giving Bette up to Paul Henreid, her former lover who has just returned from Europe at the end of the war. Both men are wickedly jealous of each other. The scene where the great composer unexpectedly arrives at Bette's and Paul's festive wedding party at her great loft apartment overlooking the river in New York (modeled on Leonard Bernstein's apartment) and trades poisonous banter with Bette and Paul makes the movie worth it by itself. But every scene is a gem, such as the scene where Claude takes them to a haute cuisine French restaurant and spends 10 minutes going back and forth over whether to order pheasant, trout, or saddle of lamb and whether to go with a Hermitage or a Vosne Romanee wine. This is some of the sharpest, wittiest dialogue I've seen in a movie, rivaling Ernst Lubitsch and every bit as good as in All About Eve. Oh, and I forgot to mention the amazingly good symphony performance scenes, with an original cello concerto by Korngold, ("played" by Henreid with the arms of two real cellists reaching in from either side to play the instrument). And Bette, a trained pianist, playing Beethoven at her wedding party (she really wanted to play it herself but Jack Warner decided against it but you can see she knows what she's doing in fingering the keys). If you haven't seen it, do check it out.

This an interesting noir that has Bette Davis playing Christine Radcliffe a musician and budding composer who reunites with her pre-WWII European boyfriend who she had mistook for dead, Karel Novak (Paul Henreid). The two unite in New York at a University concert Karel is performing in, which is how Christine "schatzi" found him. She rushes him post concert to her apartment after their joyous reunion. Looking around her loft Manhattan apartment with it's grand piano and fancy statues...Karel starts to question how Christine survived and had such nice things, he remembers how girls...even good girls survived after the last Great War.

Schatzi immediately starts making up some story about teaching students of wealthy families and how generous they are with gifts etc. It's clear she is in a rush to get with Karel to the altar. During their post-wedding celebration the reason for her rush becomes clear as the famous composer Alexander Hollenius (Claude Rains). As much as Christine is gas-lighting her husband, it is clear that she and Hollenius had a romantic relationship...and that he is the real source of her luxurious abode.

This begins an ugly battle between Bette Davis' character and Claude Rains' character, one who is dangling fame and fortune for Karel if he is told the truth about their relationship and the other who will do anything to prevent Karel from finding out.

Bette Davis plays a real piece of work, but make no mistake this is Claude Rains' show and he is fabulous! Surrounded by his rich home, Louis XIVth furniture and his cushion sitting Siamese cat he command attention and really has Bette Davis' character in a twist.

This is a music filled noir where my favorite piece is the impromptu wedding march. Noir fans should appreciate the uniqueness of this film and I highly recommend it to fans of Claude Rains in particular. The death scene is especially well done.

Deception (1946)

A marvelous chamber piece, in a way, involving orchestral music. The cast begins with two principals, played with usual intensity by Bette Davis and with usual restraint by Paul Henreid. This broods a bit and suggests trouble, and then comes the third player, who outdoes them both, in the form of Claude Rains. The rest of the movie is an interplay between the three, a push and pull and game of dodging and, of course, deception.

So how to judge this kind of tightly woven enterprise? It feels as though William Wyler could have directed it, so polished and rich it all is. But this is a Warner Brothers drama, so there is another kind of layer of dark danger, and of a noir inspired lighting and camera-work. This visual aspect, in a way, is the real star of the film, which says a lot, considering the high level of acting involved.

In all it's purely an entertainment, but at the highest level. The backdrop of classic music and classical musicians hasn't worn well over the years, but I grew up with this kind of scene and it brought back a lot of those vibes. A terrific movie within its own 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.

What can you say about something this flabbergasting? If your film preferences run toward the preposterous, camp, or 'silliest plots', then this is assuredly for you! Warner Bros gave it the full treatment, Production values ~ Performers ~ Photography ~ Music, all first quality and all wrapped up in unbelievable mush. Korngold's lush music score certainly deserved a better vehicle than this crazy story.

Oscar winning Photographer Ernst Haller, known for superb work in "Gone With the Wind", Jezebel", and two of my cinematic favorites: "Humoresque" and The Glass Menagerie" (among many)...with 'Deception', he works brilliantly alongside stylish English born Director Irving Rapper ~ together they give this way over-wrought story a great look, at times saving it, but never completely.

It also looks as if home educated screenwriter John Collier, was well aware this story, based on Louis Verneuil's 'Monsieur Lamberthier' from the 1920s, was by this time, heading out of date. Collier, being a writer known for his slightly bizarre fantasy stories and poetry, must have been torn between treating it as black comedy (Verneuil was known for his comedies) or melodrama of the most strained kind.

Claude Rains, while always impressive, must have been born for this role. His flamboyant turns are quite astounding to watch. It's easy to imagine him at home, chuckling out loud while reading such lines from his script. Take a close look at his characters 'abode', even Royalty could look out of place in this remarkable 'museum'. While the main leads are certainly excellent, it's his picture all the way.

Don't watch if you want serious, classic 40's drama. If you're after unintentional laughs or simply good performances, then this could work quite well for you....The TCM print screened in Australia was fair only.

Musician Bette Davis (Christine) tracks down her pre-war love Paul Henreid (Karel) who is performing as a cellist and they marry. However, in the years that they have been apart, ie, the 2nd World War years, Davis has had an affair with superstar composer Claude Rains (Hellonius) which she wants to keep a secret from Henreid. This is the deception that will later prove tragic as Rains is not so keen on her alliance with Henreid and does his best to undermine their union.......

This film belongs to Claude Rains and Bette Davis. Rains is excellent in every scene that he is in and provides great entertainment as a jilted, bitchy prima-donna. The dialogue in this film is very good, especially the scenes between Rains and Davis. Davis's performance comes second to Rains and her "Bette Davis eyes" reactions don't disappoint.

The film also succeeds in it's use of music in both the score for the film and the characters playing the instruments - Rains on the piano, Davis on the piano and Henreid on the cello. Unfortunately, Henreid gives a mixed performance. He is dislikable at the beginning but strangely becomes a more sympathetic character in the last half hour. His personality completely changes from a jumped-up jealous type to an understanding, caring soul. Very strange.

There is also a fundamental flaw in the plot for modern audiences. Why doesn't Davis just tell Henreid that she has had an affair with Rains after presuming Henreid had been killed. It's totally understandable so what's the big deal in keeping it a secret? We have to remind ourselves of a bygone time where social mores were very different from today. Without that mindset, the film seems like a total nonsense in terms of plot. Still, the film is an entertaining story about 3 neurotic musicians and it leaves you thinking about what happens next when it has finished.

Paired together again after the tearjerker romance Now, Voyager, Bette Davis and Paul Henreid made Deception with Claude Rains, one of her favorite costars. It's a dramatic love triangle about three classic and talented musicians. Bette starts the movie married to Claude, a conductor, but when she finds out her old boyfriend Paul is still alive, she wants to rekindle their love. Will they sneak around or boldly ask Claude for a divorce? Will he let her go or fight for her?

Bette Davis fans will really like this movie, since it has all the elements of her classic vehicles. If you don't generally like her, you'll probably think it just follows the formula too much. There's an awful lot of drama (and dramatic music), buckets of tears, a bit of violence, and tension. I always get it mixed up with The Letter, but that gives me reason to watch them both again. And since Bette is one of my favorites, that's never a bad thing!

The movie itself has draggy moments, but Claude Rains is at his suave, epicene best. One of the truly astonishing and monumentally memorable episodes in the film has him ordering and re-ordering, and ordering again, an elaborate meal in a restaurant as he imperiously delays Paul Henreid from meeting a scheduled appointment. It is not only brilliantly acted by Rains, it is an example of screenwriting at its wittiest and sharpest. A great film moment!

There are two great performances in this wonderful film; that of Rains and from Davis. Paul Henreid is also outstanding, but the film is carried by Davis and Rains. What a great change from watching post-2020 films, almost all of which are soulless. Bette Davis gives one of the best performances of her career, and Claude Rains gives arguably the best of his career (although it is hard to top The Invisible Man). Allow me to use a few hackneyed phrases; such as they just don't make films like this anymore and there will never be another actress as good as Bette Davis (with the possible exception of Meryl Streep). If you miss this film, you will be cheating yourself out of a true Hollywood gem.

Any fan of classic movies must own a copy of this one, if only for Claude Rain's amazing performance. This man was brilliant in all of his films, but this slice of ham is truly high art from the Claudester. His character is an egotistical, sexy, hilarious conductor with the improbable name of Alex Hellonious. He spends his time lazing about in a dressing gown, petting a drugged kitty and taking biting innuendo and sarcasm to a level previously unseen on screen. No wonder Bette Davis was infatuated with this man. If his power in real life was 10% of what he exhibits on screen, then swooning is the definite order of the day.

In Deception, Rains plays Bette Davis' former lover and he won't let her forget it. Bette foolishly marries the dreary, deadly dull and insipid Paul Henreid, just as she did in Now, Voyager. One wonders why Bette was always making these ridiculous mistakes. She's still in love with Claude, however, since she makes two lengthy visits to his bedroom within one day of her wedding to Henreid. When she tells Rains, "it looks like you haven't been to bed," he snaps back, "That, my dear, is none of your concern any longer." Even more amazing is that the Hays office let some of this type of dialogue slip by unnoticed. Rarely has a film contained so many explicit sexual references and plot twists. When Bette visits Claude in his home while he's eating dinner, he says with devilish deliciousness, "Oh, my dear, you look ravishing. I think I'd better remain seated." It doesn't take an Einstein to figure out what he really meant. High camp indeed! There's another moment after Bette's marriage to Henreid that Claude is begging her to stay with him and keep their affair going. With a leering smile he says, "You can have us both, you know." Mr. Breen of the Hayes office was definitely asleep at the control panel when Warners pushed this baby through.

The highlight of the entire movie is a hilarious scene of 7 minutes in a restaurant. Claude orders and re-orders various ridiculously rich foods and says things like, "We'd like a brook trout, not too large. From a good stream." He also fusses endlessly over whether to order partridges with truffles or glazed partridges soaked in Madeira. He finally decides on a "woodcock!" Bette and Henreid look on with rueful expressions because this type of acting blows them out of the water. Truly, this is one of the most adroitly acted scenes in movie history and that's not hyperbole. There is an option of having additional commentary, and the fellow claims "Bette Davis allowed Mr. Rains to steal this scene." Pardon me, but as riveting as Bette was, there's no way she's going to eclipse Rains in any movie, as she herself freely admitted.

The film itself is fairly good but very dull when Henreid shows up, but you treasure this one for Claude Rains' performance. If there's been a better actor in movie history, I've never seen him.

Talented cellist Karel Novak (Paul Henreid) has come to the US after the end of WW2 to tour. He reconnects with his old flame, gifted pianist Christine Radcliffe (Bette Davis). The two quickly rekindle their romance and get married, much to the annoyance of Christine's former secret lover and benefactor, famed composer Alexander Hollenius (Claude Rains). Hollenius offers to make Novak a solo star in his new orchestra, but Christine knows the jealous Hollenius is up to no good. Speaking of jealousy, Karel suspects that his wife had a sugar daddy while he was trapped in occupied Europe, and he accuses her and gets to the brink of violent with her when he sees all of the expensive things in her apartment that she attributes to tutoring wealthy pupils. She realizes this and that is why she lies to him. about the money and about her friendship with Hollenius which was much more than that.

This is fun, if overblown, romantic melodrama, not unlike a soap opera in sophisticated dressing. Davis is starting to slip into her overly-mannered screen persona that became a common source of impersonations. She still does some good, subtler work later in the film, as things fall apart for her. Rains chews up the scenery as the dastardly Hollenius, and he seems to be having the most fun. The score by Erich Wolgang Korngold is suitably bombastic or brooding, when needed. This was Bette Davis' first financial flop in nearly 15 years of stardom. I think time has redeemed it.

The world's greatest living composer, Alexnder Hollenius. Those words echoed in my dreams as a young man. The Haydn, Schubert, and Mozart used so artfully by Korngold did too. And his cello concerto is a fine work in itself!

The plot is minimal and at the same time overblown. Bette Davis and Hollsnius (the always brilliant Rains)have been "involved," a bit scandalously for the time of the movie's release. Enter Bette's true love, thought bu her to by dead, Henreid: a cello virtuoso.

The rest is kind of paint by numbers but it's very chic and well played (especially by the imperious Maestro, Rains.)

However, the score is sublime and right up there at the top of uses of music by American movies.

Had this been directed by Max Ophuls, it would have been a great movie. As it is, it's a very, very good movie. A movie with lovely sounds and many moments of high camp.

Bette Davis stars in this 1946 film which has her reuniting w/an old lover (Paul Henreid) who she then marries only to have the jealous specter of an old flame, played deliciously by Claude Rains, in her rear-view mirror. Henreid is an accomplished cellist making his big city debut which prompts Davis to reconnect. Instantly seeing the kind of digs she now inhabits (an opulent apartment w/a servant), Henreid suspects that Davis, a talented pianist in her own right, may've sold her soul just to be comfortable. When Rains pops back into the picture, all pomp & circumstance cut w/a dash of superciliousness (his restaurant scene where he belabors a dinner order rivals Myrna Loy's paint selection from Mr. Blandings Build his Stream House) hits the right note of camp & hysterical blindness which leads his & Davis' relationship to a fateful head. Reuniting his Now Voyager cast from 1942, director Irving Rapper hits a decent triple (Davis' character falls into martyrdom as she lets her two male suitors have their way w/her & the movie as well) letting only glimpses of her strength to come out in dollops, particularly at the end but seeing these three players at the top of their game is still a sight to behold.

I wonder how the conversation at Warner Brothers went the day they dreamed up this movie. Was it something like: "Hey, Casablanca was a big hit. I wonder if we could cash in on that? Let's try retelling the same story, and just change a few superficial things, so it isn't too obvious. You know, keep the story about the woman who has an affair with another guy during the war because she thought the man she was in love with had been killed. And then he comes back, and meets the interim guy, and there's jealousy and all that. Maybe have her pull a gun on the interim guy again, the way Bergman did on Bogart. That was a good scene! And then she finally goes off with her first love again. Something like that, you know, but we just change a few details. And say, we've still got Paul Heinried under contract. We can get him to play the guy who gets cheated on again. He was good at that. And maybe use Claude Raines again. We'll just change a few of the details." And so they did, and so Deception was born.

This time, we see more of it through the woman's eyes, this time played by Bette Davis. And this time, the man and the woman weren't actually married before, so if she had an affair with another guy when she thought the first one was dead, there wasn't actually anything wrong with that. But the first guy still gets jealous.

Did Heinreid get tired of playing the noble cuckold? I wonder.

Did Davis object to having to play a watered down, less attractive version of a role Ingrid Bergman had already immortalized?

This isn't a bad movie, though it is often VERY melodramatic. Unlike Casablanca, I don't know how many men could have sat through it.

It shows the difference you get with even very fine actors when the script just isn't that interesting.