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1939 film by Edmund Goulding

Dark Victory is a 1939 American melodrama film directed by Edmund Goulding, starring Bette Davis, and featuring George Brent, Humphrey Bogart, Geraldine Fitzgerald, Ronald Reagan, Henry Travers, and Cora Witherspoon. The screenplay by Casey Robinson was based on the 1934 play of the same title by George Brewer and Bertram Bloch, starring Tallulah Bankhead.

Judith "Judy" Traherne, is a young, carefree, hedonistic Long Island socialite and heiress with a passion for horses, fast cars, and too much smoking and drinking. She initially ignores severe headaches and brief episodes of dizziness and double vision, but when she uncharacteristically takes a spill while riding and then tumbles down a flight of stairs, her secretary and best friend Ann King insists she see the family doctor, who refers her to a specialist. Dr. Frederick Steele is closing his New York City office in preparation for a move to Brattleboro, Vermont, where he plans to devote his time to brain cell research and scientific study on their growth. He reluctantly agrees to see Judy, who acts coldly and is openly antagonistic towards him. She shows signs of short term memory loss but dismisses her symptoms. Steele convinces her the ailments she is experiencing are severe and potentially life threatening and puts his career plans on hold to tend to her. When diagnostic tests confirm his suspicions, Judy agrees to surgery to remove a malignant glioma brain tumor. Steele discovers the tumor cannot be removed entirely and realizes she has less than a year to live. The end will be painless but swift; shortly after experiencing total blindness, Judy will die. To allow her a few more months of happiness, Steele opts to lie to Judy and Ann and assures them the surgery was a success. As he is a poor liar, Ann is suspicious and confronts Steele, who admits the truth. Steele tells Ann, "she must never know" she will die soon. She agrees to remain silent and continue the lie. Judy and Steele become involved romantically and eventually engaged. While helping his assistant pack the office before their departure for Vermont, Judy discovers her case history file containing letters from several doctors, all of them confirming Steele's prognosis. Assuming Steele was marrying her out of pity, Judy breaks off the engagement and reverts to her former lifestyle. One day, her stable master Michael O'Leary, who for years has loved her from afar, confronts her about her unruly behavior, and she confesses she is dying. Their conversation convinces her she should spend her final months happy, dignified, and with the man she loves. She apologizes to Steele, and they marry and move to Vermont. Three months later, Ann comes to visit. Judy and she are in the garden planting bulbs when Judy comments on how odd it is she still feels the sun's heat under the rapidly darkening skies. They both immediately realize she is losing her vision and approaching the end. Judy makes Ann stay mum, as Steele leaves that day to present his most recent medical findings—which hold out the long term prospect of a cure for her type of cancer—in New York. Judy makes an excuse to remain home, helps him pack, and sends him off, telling him, "What we have now can't be destroyed. That's our victory, our victory over the dark. It's a victory because we're not afraid." Then, after bidding Ann, her housekeeper Martha (who has silently deduced the situation), and her dogs farewell, she goes to her bedroom. Martha follows Judy and, upon entering the room, pauses as she sees Judy kneeling briefly, apparently praying. Judy then lies down on the bed; Martha drapes a blanket over her, withdrawing quietly when Judy asks to be left alone.

The movie premiered at the Radio City Music Hall, and Frank S. Nugent, in his review in The New York Times, observed: "A completely cynical appraisal would dismiss it all as emotional flim flam, a heartless play upon tender hearts by a playwright and company well versed in the dramatic uses of going blind and improvising on Camille. But it is impossible to be that cynical about it. The mood is too poignant, the performances too honest, the craftsmanship too expert. Miss Davis, naturally, has dominated—and quite properly—her film, but Miss Fitzgerald has added a sentient and touching portrayal of the friend, and George Brent, as the surgeon, is—dare we say?—surprisingly self contained and mature. This once we must run the risk of being called a softy: we won't dismiss Dark Victory with a self defensive sneer." An article in Neurology says the film marked "the beginnings of the depiction of neurologic disease in cinema. Bette Davis' cinematic portrayal of a young woman dying from a brain tumor is close to the reality of denial, bargaining, a hope for a cure, and final acceptance." Although the film "shows an implausible clinical course (an abrupt peaceful ending) the cinematic portrayal of the vicissitudes of living with a brain tumor is often close to reality." Variety called the film "intense drama" and "a nicely produced offering [with] Bette Davis in a powerful and impressive role." Time Out London critic Tom Milne writes: "[Davis] and [director Edmund] Goulding almost transform the soap into style; a Rolls Royce of the weepie world." On Turner Classic Movies, Margarita Landazuri said: "Dark Victory was a three hanky hit. Filmgoers and critics alike knew their emotions were being manipulated, but so expertly and touchingly that they couldn't help but cheer." It is also mentioned in the 2015 movie The Frontier by the Luanne character as a missed opportunity in her career. Dark Victory currently holds an 88% rating on Rotten Tomatoes based on twenty three reviews. The site's consensus states: "Bette Davis does it her way with a tour de force performance in Dark Victory, a moving melodrama that snatches triumph from the jaws of mortality."

On January 8, 1940 Davis and Spencer Tracy appeared in a 60 minute adaptation of the film on Lux Radio Theatre. Barbara Stanwyck and Melvyn Douglas had previously performed an adaptation, one based on the original Broadway play, on Lux Radio Theatre on April 4, 1938. On March 6, 1952, CBS Radio's Hollywood Sound Stage aired a condensed 30 minute version starring Stanwyck and David Brian.

In 1963, the film was remade as Stolen Hours with Susan Hayward and Michael Craig, directed by Daniel Petrie. The action took place in then contemporary England.