Leofwine_draca
A funny, entertaining axe murder romp from director William Castle, who brings all of the expected lurid sensationalism to the film, which is full of the expected spooky music and creaky doors. The opening pictures of people at an asylum are also the same as those used in BEDLAM and ASYLUM, bringing to mind the same distorted, swirling features of the insane.Joan Crawford stars. She shows here that she's still got what it takes to captivate the audience and hold the screen, her acting dominating every moment she appears, and she fits perfectly into the role of the nice but occasionally snarling woman who may or may not be demented. In her black wig she even looks 30 years younger, no mean feat as she was 60 when this film was made, and her character is in total control of things, whether it be flirting with her son's lover or having a screaming match with her doctor.Along with Crawford's considerable presence, there is solid support from the young cast caught up in the nightmare, especially from Diane Baker who seems initially innocent but whose character soon takes another twist. A young George Kennedy appears as an unlucky farmhand who gets decapitated. The film is not particularly violent or gory, and there is no blood in it; however Kennedy's head is cut off in full view of the camera, while other murders are performed in shadow, much like in THE BLACK CAT. The influence of PSYCHO is clear here, with lots of references to 'mother' and schizophrenic activities; to further the point Robert Bloch is on hand as the writer.However, the film spends far too long on talk and not enough action, and therefore may be quite boring for those not experienced with this particular genre. With this fault aside, however, it's a fun story with a bravura performance from Crawford, typical of the director's approach and with a lot to commend it.
Mr_Ectoplasma
"Lucy Harbin took an axe, gave her husband forty whacks, when she saw what she had done, she gave his girlfriend forty one." So is the life of Lucy Harbin, played by dynamite Joan Crawford. After spending twenty years in an insane asylum for her crime, she is released and goes to live with her daughter on their farm property, but it is not long before goings on around the farm seem to point to Lucy's questionable sanity (and innocence).While William Castle earned his reputation for schlock-ridden gimmicky horror films, his pictures with Crawford are true gems; this film and "I Saw What You Did," to be specific. While Crawford's meditated approaches to performance are part of what made these films so effective, it is inarguable that these films were well written and well directed. Penned by Robert Bloch, the author of "Psycho," "Strait-Jacket" plays on Harbin's potential madness like piano keys— it's routine, sure, but for 1964, it's still a fresh approach to insanity on film. What's most surprising though is, as in "Psycho," the way in which the film's conclusion turns on its audience, and the plot twist is just as unexpected to a 21st century audience as it was in 1964.Crawford's dedication to her role in the film is astounding, and in "Strait-Jacket" she is able to take a stab at the madwoman villainess whom she played opposite to in "Whatever Happened to Baby Jane?" two years earlier. Crawford's determination and gall really pay off for her, because the role, no matter how dramatic or emotive it is, is convincing. Diane Baker plays opposite as Crawford's tormented daughter and is able to hold her ground against the grand dame of madness. Overall, "Strait-Jacket" is a solid thriller with Castle's schlocky touch, but its writing is sophisticated and its performances impressive enough to elevate it far beyond any sort of gimmick. The plot twists and Crawford's anti-demure playing of her character make this worth a watch. Along with "I Saw What You Did," "Strait-Jacket" is among Castle's classiest and most calculated thrillers. 7/10.
PrometheusTree64
The star, Joan Crawford, and the period (the early '60s) makes this almost work...It's shuddery and creepy, though cartoonishly schlocky, obviously.If it's not the best really bad movie ever made, then it's certainly close.Yes, it's a legendarily ridiculous movie. The music score, in the innocuous scenes, sounds like it comes from a sitcom of that era, while the dramatic moments indeed sound as if they're composed for a sci-fi thing.Joan acts her little heart out as the tormented maniac, though her transformation from 60 years old to "29 years old" isn't entirely successful. Go figure.Overall, the movie is badly edited, unevenly acted, and William Castle's work is mediocre even by his standards -- the way the opening murder scene is ruined by his cinematic incompetence is astounding! No subjective camera view? Even during the the killings?? My favorite part of the film is probably the party at the Fields' house near the end, Mr Fields' doomed closet, all the way thru Diane Baker's breakdown. So funny.It's undeniably fun, but imagine if Castle had done a better job on this film without leaving all the responsibility to Joan.Oh, the missed opportunities from Castle. Such good ideas yet so little talent!
Vornoff-3
This one has a certain class, lent to it by Crawford and by the script by Robert Bloch of "Psycho" fame (and of the Lovecraft circle). It's a bit convoluted, as a movie, but it works. Any lesser actress would be hard to watch as the melodramatic mother released from a mental institution 20 years after murdering her husband and his lover. My favorite part is where Joan comes on to her adult daughter's new boyfriend. You'll probably figure out the ending before it comes, but watching it unfold is lots of fun. No gimmick this time out, I guess having Joan Crawford on the marquee was enough, even for William Castle!
AD
