Today actresses happily gain weight, dye their hair, dress like slobs, and lose their glamor for a role, and Bette Davis was probably the actress who started the trend. Even as a pretty young woman who occasionally wore designer clothes and Constance Bennett-type makeup in films, Davis was willing to ravage herself in order to create a character on the outside as well as the inside.
Her determination is amply demonstrated here in her breakout film, "Of Human Bondage," in which she stars with Leslie Howard as Philip Carey. Davis plays Mildred, a slutty, manipulative, greedy low-life to Howard's masochistic, club-footed Philip. He first meets her when she's a waitress, and she allows him to take her out to dinner and theater while she frolics with a wealthy older man (Alan Hale Sr.). In truth, Mildred is repulsed by Philip's club foot. On his part, Philip seems to enjoy the abuse of her open flirtation and her coolness toward him. He allows Mildred to bleed him dry financially in between boyfriends who drop her when they tire of her, while he blows off a couple of truly lovely women (Kay Johnson and Frances Dee). When he gets the gumption to throw her out, Mildred trashes his apartment and robs him, forcing him to withdraw from medical school and lose his lodgings.
"Of Human Bondage" looks rather stilted today in parts. Though Leslie Howard was a wonderful actor and attractive, his acting style is of a more formal old school, and as a result, he tends to date whatever he's in. He shines in material like his role opposite Davis in "It's Love I'm After" or "The Petrified Forest" which call for his kind of technique. His dated acting is even more obvious here because Davis was forging new ground with a gritty, edgy performance that would really make her name. If she seems at times over the top, she came from the stage, and the subtleties of film acting would emerge later for her. Contrast this performance with the restraint, warmth and gentleness of her Henriette in "All This, and Heaven Too" or the pathos she brought to "Dark Victory." She was a true actress and a true artist. Davis really allows herself to look like holy hell; Mildred's deterioration is absolutely pathetic as Philip seems to gain strength as her spirit fades.
An excellent film in which to see the burgeoning of one of film's greatest stars.

One wonders why anyone would try to rehash successful movie plots that have already been seen, like it's the case with this movie. "The Wedding Date" is one of the best examples of why not to even try to remake, under the guise of a new story, something that should have been let alone. If a project like this goes ahead with the studio big honchos' approval, then go all out with big stars and glossy production values, that way, people will come for the stars.
Alas, that's not what happens in this misguided attempt at comedy. The problem seems to be the way the screen writers have transplanted the story to London, when basically, this seems to be a typical American situation that not even the setting will be able to fix. Then there is the problem with the stars. Debra Messing and Dermot Mulrooney? They have as much chemistry as oil and vinegar!
Since the Kat and Nick have no conflict from the start, the viewer is not pulled into the film the way the creators thought they would be. It's clear that Kat will fall for Nick, and vice-versa in this predictable story. Amy Adams, who was the best asset in "Junebug", comes across as a shallow girl who is willing to keep her lie going on and not come clean to the man that loves her and is going to marry her.
For anyone interested, the credits at the end of the film run for almost seven minutes!