1949 жылғы «Жарқын түссіз» фильмі және Бетте Дэвис пен студия арасындағы соңғы қарым-қатынас

1949 American film noir directed by King Vidor
The film marks Davis's last appearance as a contract actress for Warner, after eighteen years with the studio. She tried several times to walk away from the film (which only caused the production cost to go through the roof), but Warner refused to release her from their employment contract. She remembered the project as "a terrible movie", and her death scene at the end of the film as "the longest death scene ever seen on the screen". Film historian David Melville suggests that Warner Brothers offered Bette Davis, the aging seventeen year veteran of the studio, the role of Rosa Moline anticipating she would reject the project, a move that would allow executives to void her contract. She completed the film nevertheless, but it would be her last with Warner Brothers. Vidor and Davis feuded over direction of the film throughout its filming. In an especially dramatic scene in the filming where Davis berates her "dull but decent doctor husband" (Joseph Cotten), Vidor demanded "greater vehemence" in her delivery. In response, Davis went to Jack Warner to ask that Vidor be replaced with another director, which Warner declined. Vidor was unaware of the request until the shooting was completed. Davis’ complaints concerning Vidor had the opposite effect and spurred Warner executives to cancel her contract, a finale satisfactory to both parties. The final cut of the movie appeared without the sequence depicting Rosa's abortion, an edit that Vidor only discovered when he viewed the film at a local theater.

The scenes featuring the mythical town of "Loyalton, Wisconsin" were actually shot in Loyalton, California, a small, picturesque village in Sierra County.

Film critic Bosley Crowther dismissed the film upon its release, writing,To be sure, the script by Lenore Coffee offers little for her to do but run through the usual banalities of an infidelity yarn For those who have not been embarrassed by pretensions in a fairly long time, let us recommend the climax of this incredibly artificial film—the final scene in which the lady, apparently burning up with a bad case of peritonitis, drags herself out of bed, pulls herself to her mirror, smears make up on her face and gets dressed in disheveled finery to stagger forth toward the railroad tracks and death. With the clashing refrain of 'Chicago' beating in her head, she pays for her selfish sins and follies. Quite an experience, we'd say Not to be coy about it, we can see no 'Oscars' in the offing for this film. Writing in 2004, Dennis Schwartz was nearly as dismissive, summarizing the plot as "bombastic melodrama", but noting that, "The film's only redeeming value is in its almost camp presentation, which might find some in the audience entertained by the overblown acting on Bette's part (she caricatures herself) and the intense but laughable soap opera story." On the other hand, writers focused on the film noir movement, such as Alain Silver, have found merit in the movie: "King Vidor's vision of melodrama in small town America is never darker than in Beyond the Forest where the arrangement of formal elements possesses the rigor and occasionally the overstatement of a Euripidean tragedy. The revelation that Rosa Moline's "evil" is a role forced on her by a repressive environment is what transforms Vidor's passion play from an updated rendering of Madame Bovary into film noir." In February 2020, the film was shown at the 70th Berlin International Film Festival, as part of a retrospective dedicated to King Vidor's career.

The film originally received a ‘C’ classification from the Legion of Decency because of its abortion elements. This classification initially impacted the film's box office, forcing the studio to negotiate cuts in order for the film to be reclassified as a ‘B.’

Variety said the film earned $1.5 million. According to Warner Bros accounts the film earned $1,331,000 domestically and $407,000 foreign. Rosa, who considers herself the victim of "[petty] bourgeois mediocrity" is the "small town girl so consumed with craving for the city [Chicago] that she becomes what looks like a camp caricature of herself." Vidor's portrayal of Rosa conveys a sympathy for Rosa's life force, "frustrated and deranged though it is." Vidor diverges from Flaubert's social outlook in that he expresses a genuine sympathy for the small factory town and its community relationships that Rosa finds repellent. Rosa's long sought destination, Chicago, is depicted as a threatening domain of heavy industrial oppression, heightened by a Max Steiner score that emphasizes the city's "brutality". In contrast, Vidor portrays the rural industry in the small town Loyalton, Wisconsin, as comporting with the "human pace" of life in the local community, the "pollution belching mill" a "tiny blemish."

Composer Max Steiner was nominated for an Academy Award for Best Music (Scoring of a Dramatic or Comedy Picture) in 1950. The film is listed in Golden Raspberry Award founder John Wilson's book The Official Razzie Movie Guide as one of The 100 Most Enjoyably Bad Movies Ever Made and recognized by the American Film Institute in these lists:
2005: AFI's 100 Years 100 Movie Quotes:
Rosa Moline: "What a dump." – #62