“Jezebel”: A Southern Firebrand’s Descent from Scandal to Redemption

Released in 1938 and directed by William Wyler, Jezebel is a classic Southern melodrama set in 1850s New Orleans. The story follows Julie Marsden (played by Bette Davis), a headstrong and defiant socialite whose fiery temperament often clashes with the rigid codes of the Antebellum South. The film’s central conflict is ignited when Julie, in an act of social rebellion intended to pique the jealousy of her fiancé, Preston “Pres” Dillard (Henry Fonda), insists on wearing a scandalous red dress to the exclusive Olympus Ball, where tradition dictates that unmarried women wear only white.

This act of defiance backfires spectacularly, as Pres, feeling humiliated and pressured by societal expectations, forces Julie to dance through the crowd’s visible disdain before ultimately breaking off their engagement. Following the scandal, Pres leaves New Orleans for the North, leaving a heartbroken Julie to retreat into isolation at her plantation. She spends a year in seclusion, fueled by the hope that he will return and forgive her. However, when Pres finally reappears, he is accompanied by his new Northern wife, Amy, shattering Julie’s illusions and driving her to desperate, spiteful attempts to win him back.

The film reaches its emotional and literal fever pitch as a deadly yellow fever epidemic sweeps through the city. When Pres falls ill, the crisis forces a transformation in Julie’s character.

Will Julie redeem herself in Press’s eye and restore her reputation with her family and friends?

 

Bette Davis, born Ruth Elizabeth Davis (1908 – 1989) was a towering figure of the Golden Age of Hollywood, renowned for her intense acting style and willingness to play unsympathetic, complex characters. Over a career spanning more than six decades, she became the first person to accrue ten Academy Award nominations for acting, winning Best Actress twice for Dangerous (1935) and Jezebel (1938). Her sharp wit and distinctive delivery made her an icon in classics like Dark Victory and All About Eve, while her fierce independence led to a landmark legal battle against the studio system for better creative control. Davis continued to work across film, television, and theater until her death leaving behind a legacy as one of the most decorated and influential performers in cinematic history.

Henry Fonda (1905 – 1982) was a definitive icon of American cinema, celebrated for a career that spanned five decades and a screen presence characterized by quiet integrity and understated strength. After honing his craft in the theater, Fonda transitioned to Hollywood, where he became a favorite of director John Ford, delivering an Oscar-nominated performance as Tom Joad in The Grapes of Wrath (1940) and portraying the steadfast Juror 8 in the classic courtroom drama 12 Angry Men (1957). While he was often cast as the moral everyman in films like Young Mr. Lincoln and Mister Roberts, he demonstrated his range with a chilling turn as a ruthless villain in Once Upon a Time in the West (1968). Fonda eventually earned a long-awaited Academy Award for Best Actor for his final film role in On Golden Pond (1981), capping off a legacy that solidified him as one of the most respected performers in the history of the silver screen.

George Brent (1899 – 1979) was a versatile and prolific leading man of the Golden Age, best remembered as one of Hollywood’s most dependable “woman's director” favorites and a frequent collaborator with the era’s top actresses. Born in Ireland, he eventually made his way to Warner Bros., where he became the quintessential sophisticated foil to stars like Barbara Stanwyck, Ruth Chatterton, and most famously, Bette Davis, with whom he appeared in eleven films, including Dark Victory (1939) and The Great Lie (1941). Though he often played the role of the steady, gentlemanly love interest, Brent’s career also featured notable turns in adventurous fare and noir thrillers such as The Spiral Staircase (1946). After appearing in scores of features through the 1930s and 40s, he transitioned into television during the 1950s before retiring from the screen to focus on his interests in horse racing and ranching.

 

Jezebel trivia

The "Consolation" Prize: Many film historians believe Bette Davis was offered the role of Julie Marsden as a consolation prize from Jack Warner after she failed to land the role of Scarlett O'Hara in Gone with the Wind. Ironically, Davis won her second Academy Award for Jezebel, beating out the competition a year before Vivien Leigh’s iconic win.

The Scandalous Red Dress: Although the famous dress Julie wears to the Olympus Ball is described as red to signify her defiance and shame, the film was shot in black and white. To achieve the correct level of dark, satiny contrast against the white gowns of the other extras, the costume department actually used a rust-colored bronze or deep black fabric for the dress during filming.

A Master of Perfection: Director William Wyler was notoriously nicknamed “40-Take Wyler” due to his perfectionism. This film marked the beginning of a legendary (and often volatile) professional and personal relationship between Wyler and Davis; she later credited him with being the director who helped her realize her full potential as an actress.

The Legend of the Fever: While the film’s climax focuses on a yellow fever epidemic, the production itself was quite healthy. However, the film is credited with being one of the first major Southern Belle dramas to focus heavily on the gritty reality of nineteenth-century medical crises, blending high-society melodrama with a survivalist medical thriller.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the discussion on May 18, 2026, at 6:30 p.m. CDT. Once you RSVP, you will receive an invitation with a link to join the discussion on Zoom.

 

Discussion questions

The Symbolism of the Red Dress: In the context of 1850s New Orleans society, the red dress incident serves as the film's catalyst. How does Julie’s decision to wear the dress reflect her character’s internal conflict between her desire for independence and her need for social validation? Was her act one of genuine bravery or merely a self-destructive whim?

Gender Roles and Social Codes: Pres Dillard represents a more modern, Northern-influenced perspective on business, yet he adheres strictly to Southern codes of honor regarding women’s behavior. How do the era's shifting social expectations create the friction that drives Julie and Pres apart? Does the film suggest that these rigid codes are ultimately more dangerous than the yellow fever epidemic?

The Nature of Redemption: By the end of the film, Julie makes the ultimate sacrifice to nurse Pres on the fever island. Is this transformation a believable character arc, or is it a desperate attempt to maintain control over him one last time? Does the film view her redemption as a triumph of her spirit or a tragic submission to the Jezebel label?

Amy vs. Julie: Amy is often portrayed as the perfect Northern wife—composed, forgiving, and rational—in contrast to Julie’s fire-and-brimstone Southern personality. In the final confrontation between the two women, who holds the true power? Discuss how the film handles the dynamic between the traditional wife and the fallen woman.