lasttimeisaw Originally a star vehicle to reunite Bette Davis and Joan Crawford after the runaway success of WHAT EVER HAPPENED TO BABY JANE? (1962), HUSH…HUSH, SWEET CHARLOTTE intended to continue cashing in on projecting their backstage rivalry onto the theatrical canvas of a grueling tale with a similar theme, with Robert Aldrich staying in the director's chair. But when the personal collision between Ms. Crawford and Ms. Davis escalates (as Aldrich, the intermediary, failed to juggle with these two high-maintenance divas this time), also for fear of being upstaged again by Ms. Davis, who insinuates herself into gaining an upper hand during the production for a showier role, Ms. Crawford bowed out completely from the picture by feigning illness, and Ms. de Havilland, a long-time friend of Ms. Davis, was brought to fill her shoes in the eleventh hour. Whereas the legendary off-camera feuding is still of great interest up to a point (Ryan Murphy has an upcoming series named FEUD, starring Susan Sarandon as Davis and Jessica Lange as Crawford, to chronicle the infamous anecdotes for today's audience), the movie per se is a marvel of its own. A prelude sets in Ascension Parish, Louisiana in 1927, effectively tampers its Dixieland gaiety with a grisly tinge when John Mayhew (Dern), a married man, is brutally butchered after his elopement plan with Charlotte has been thwarted by the latter's father Big Sam Hollis (Buono, in a brief but menacing performance bolstered by a heavy make-up to play a character nearly doubles his real age). Then, the story fast-forwards to 1964, 37 years later, Charlotte (Davis), now a faded southern belle, presumably the murderer of her beau, never gets married and lives alone in her father's mansion like a demented recluse, her sole accompanies are the housekeeper Velma Cruther (Moorehead) and Dr. Drew Bayliss (Cotten), who occasionally comes to attend to her well-being. When the estate is on the risk of being torn down by the government in favor of building a bridge, Charlotte seeks help from her cousin Miriam Deering (de Havilland), the only family member she has presently, invites her to stay under the same roof first time after the horrific happening, but many many strange things ensue to drive her further down into lunacy. The intriguing whodunit has been brilliantly contrived as a collision course of no-holds-barred collision course between two leads, and is fraught with pathos and suspense through its full- throttle noir atmosphere, actually, the picture must represent the apotheosis of chiaroscuro cinematography, captured to a mesmerizing effect by DP Joseph Biroc, lights, shades, shadows and facial close-ups all being flawlessly framed against the haunting tableaux where threats and secrets skulking insidiously in the darkness, just like Charlotte's disconcerting confession "It's only real when it's dark". The sequences blurring the line of reality and imagination are extraordinarily conceived and executed, sublimate its pulpy material to cinematic surrealism. But do viewers ever question Charlotte's sanity or regard her as a heartless murderer? No, not when Ms. Davis is is her absolutely most vulnerable state, unlike in BABY JANE, here she switches to the victimized party, tormented and devilled by a past trauma and can never let it go (and someone with an ulterior motive doesn't want her to do that either), battles solitude with delusion and paranoia, marvellously, even in such a passive position, she still obstinately hams it up whenever she feels apt, which injects a perverse defiance into Charlotte's fragile persona, and when she finally gets that vindication, Bette Davis raises again, in her immutably triumphant flair. As great as Ms. Davis in her utmost fearless attempt, it is Ms. de Havilland's sinister turn hits a more rewarding mark for my money, ever so rare, she sloughs off her front of elegance, benignancy and deference, to demonstrate how deceitful, nefarious and hell-bent she could be if given the chance, it is extremely tempting to envision what Ms. Crawford could've improved from her contrasting shifting. Dishearteningly, both these two-time Oscar-winners were snubbed in the Oscar race whilst the movie surprisingly racked up seven nominations (compared with BABY JANE's five but a win for Black & White costume design), so were Mary Astor as the widow Jewel Mayhew, the splendid two- scenes stealer (also it is her final appearance on the silver screen) and Cecil Kellaway, who even- temperedly portrays the reporter Harry Willis from London, introduces a pleasant scent of well- adjusted phlegm to counterpoise the heady melodrama. Only the protean Ms. Moorehead got her fourth and final Oscar nomination in her ostentatiously uncompromising appearance as the muttering caretaker of Ms. Charlotte, but her loyalty is cunningly motivated by the vested interest, she is feisty enough to fight for what she wants against all odds, only too gormless to reveal her intention too early when standing in a perilous position, which is the same fatal mistake the villains eventually make - celebrate too soon when they still have one more show to play, a slightly bathetic feeling transpires when everything is said and done, that swell sensation from the finale of BABY JANE is seemingly nowhere to be found this time.

Leofwine_draca A demented slice of Southern Gothic from top director Robert Aldrich, this was made as a follow-up to the successful WHATEVER HAPPENED TO BABY JANE?, only lacking Joan Crawford's return as one of the leads. Instead she was replaced by Olivia de Havilland in a piece of unusual casting which really pays off come the finale. Basically this is an overbaked melodrama dealing with themes of nostalgia, madness, regret and loneliness, which mixes in family secrets, hidden skeletons, murders, and even a few severed body parts for good measure into its running time. As is per usual with these psychological thrillers from the period (just check out PSYCHO or STRAIT-JACKET to see what I mean), there's a genuinely thrilling twist in the tale which turns things on their head and is very well done. Crisp black and white photography adds to the atmospheric proceedings and the film succeeds in creating some memorable dream-like chilling moments such as the faceless dance. There are even a few gory shocks like the opening hatchet murder which liven up the proceedings no end.Although the film is definitely overlong and could have easily lost half an hour or so, the excellent casting keeps one watching throughout. First up is Bette Davis, chewing the scenery and fitting well into her somewhat stereotyped (after Jane?) caricature of "sad, lonely, mad old woman", providing a nice focus piece for the movie. However, her thunder is stolen by Olivia de Havilland as Miriam, a sweet and nice lady who turns out to have some dark secrets of her own - definitely she gives the best performance in the film. Joseph Cotten also puts in a nice, shady turn as the family doctor out to make a profit for himself. The only role that doesn't fit for me is Agnes Moorehead as irritating housekeeper Velma; her unwanted over-the-top comic relief recalls the annoying humour of James Whale's movies three decades previously. A number of up-and-coming stars such as Bruce Dern, George Kennedy, and even Victor Buono put in small but important parts. HUSH...HUSH SWEET CHARLOTTE is an exceptional example of a heated melodrama/horror film at its finest, and if you can get over the slow middle, then the dramatic finale is well worth a watch.

SnoopyStyle In 1927, Big Sam Hallis threatens John Mayhew (Bruce Dern) who is planning to elope with his daughter Charlotte Hollis (Bette Davis). Big Sam knows John is already married and John breaks it off with Charlotte. Someone murders John and it's assumed to be Charlotte. Big Sam dies in 28. In 1964, Charlotte is a neighborhood bogeyman for the kids. Velma (Agnes Moorehead) is her housekeeper. The State has claimed her estate to build a bridge and roadway. Mr. Willis arrives in town to investigate the Mayhew murder for the insurance company. Charlotte calls in cousin Miriam (Olivia de Havilland) who used to live in the mansion. Dr. Drew Bayliss (Joseph Cotten) is treating Charlotte.Bette Davis plays another crazy old hag. The cast is stacked. The plot gets a few too many twists and turns. It becomes a bit too convoluted. The story has too much going on. It's not as great as Bette's other masterpieces and lives in their shadows. Of course, the contemporary audience would see this movie with full knowledge of the epic battle between Bette Davis and Joan Crawford during the production. They may find extra juice out of that real life soap opera.

tieman64 Directed by Robert Aldrich, "Hush, Hush, Sweet Charlotte" finds the inimitable Bette Davis stuck in a silly Southern Gothic plot. She plays Charlotte Hollis, a hysterical woman who refuses to leave her dilapidated mansion in Louisiana. The film was written by Lukas Heller, who scripted "Whatever Happened to Baby Jane?", a better Bette Davis flick.At the heart of "Hush, Hush, Sweet Charlotte" is the mysterious death of Charlotte's lover. Charlotte is accused of this crime, but local law enforcement can't prove her guilt. This leads to decades of isolation, and Charlotte's slow crawl into insanity. The film co-stars Agnes Moorehead, who steals the show as Charlote's protective servant. Joan Crawford was originally expected to star in the film, but dropped out.Incidenally, Aldrich directed a number of bizarre, bombastic "women's pictures" late in his career, most notably "Autumn Leaves", "The Legend of Lylah Clare", "The Killing of Sister George" and "Whatever Happened to Baby Jane?".4/10 – Worth no viewings.