Cast:
Bette Davis (Charlotte Hollis), Olivia de Havilland (Miriam Deering), Joseph Cotten (Doctor Drew Bayliss), Agnes Moorehead (Velma Cruther), Cecil Kellaway (Harry Willis), Mary Astor (Jewel Mayhew), Victor Buono (Big Sam Hollis), Wesley Addy (Sheriff Luke Standish), William Campbell (Paul Merchand), and Bruce Dern (John Mayhew) Produced and Directed by Robert Aldrich (#105 - What Ever Happened to Baby Jane?, #778 - The Longest Yard, #1014 - The Dirty Dozen, #1389 - Kiss Me Deadly)
Review:
If you remember, What Ever Happened to Baby Jane? (1962) was a hit with audiences, so naturally one might want to capture on that success and make a quick follow-up. Robert Aldrich decided to use an unpublished short story written by Henry Farrell called "What Ever Happened to Cousin Charlotte?". Lukas Heller, who had adapted Farrell's Baby Jane novel, would write the screenplay with Farrell (incidentally, Farrell wrote one other screenplay with What's the Matter with Helen? [1971]). Of course, he ran into a small problem: Joan Crawford and Bette Davis did not really want to work with each other again. Crawford (as cast in a role that wasn't exactly a role to chew on when compared to Davis, who had influenced the title change) wound up in the hospital with a respiratory ailment, but Aldrich was skeptical enough to actually hire a P.I. to track her. Incidentally, Crawford happened to star in a different type of psychological horror movie in 1964 with Strait-Jacket (both movies feature a person spooked by a memory of head-rolling death that may or may not be coming back to haunt them back home). At any rate, demands by the insurance company led him to either trash the movie or fire Crawford, for which Alrich went with the latter decision in August of 1964. After a handful of actresses rejected Aldrich's offers (such as Vivien Leigh), he eventually replaced her with a good friend of Davis with Olivia de Havilland. Others did return to be involved with the film from Jane such as editor Michael Luciano and composer Frank De Vol to go along with appearances by Victor Buono and Wesley Addy. While not quite as popular as the aforementioned Aldrich film, the movie was a relative success with audiences when it first came out in late 1964 and even received a few award nominations (in interviews, Aldrich liked making the movie just fine, although he had wished he could've spread out the time in making two similar films with Baby Jane and Charlotte for "my personal taste" while also arguing that Davis gave a better performance in the latter). In 1969, Aldrich produced What Ever Happened to Aunt Alice?, which while not related to Charlotte or Baby Jane is at least interesting for being about an aging old woman (played by Geraldine Page) dealing with murder and mayhem.
Creepy and creaky with a runtime at 133 minutes, this is the kind of movie that plays right at home for those who like drawn out thrillers (it reminds me to consider Les Diaboliques [1955], incidentally), albeit ones that play with bits of gore here and there. One particularly has some fun with the opening sequence (which features the ever-effective Buono to go along with a young Dern getting to be a part of, well, head-rolling) to draw out the scenarios of Southern Gothic mayhem that does eventually circle back to what it believes will be fun turns of the screw. Of course, it helps to have an actress like Davis at the helm to give the whole thing a sense of interested dignity in making this more than just goofy hysterics (hey, we don't judge anyway, particularly since there are people who thought Baby Jane had some sort of camp aspect to it, as if scene-chewery isn't merely just part of just making some thrillers). Her entrapment in the past for the character is handled with the usual Davis standard of approaching the role with straight-to-the-point grace, managing to handle the tightrope of not merely being consumed or embarrassed by the macabre aspects. She plays the great creature that comes with a psyche that can only see things through the prism of the place that might as well be a mark on her soul, one that traps her soul that can be seen even when she is brandishing a shotgun (as seen early in the movie). de Havilland apparently wasn't too keen on making the movie but elected to do it because of the desire by Davis to work with her, which she did with relative success (after this, she appeared in five further films over the next 15 years to go along with a few television appearances prior to her death in 2020 at the age of 104). But she plays it as it if was a tight-rope to glitter in facades just as interesting as the one presented by what one would assume is just a nut (maybe it's a spoiler to say to beware of nice-presenting strangers), and it goes just as well with Cotten (incidentally, he also happened to play a key role in a movie about a woman possibly being on the nutty side with 1944's Gaslight), who has that conniving nicety to play the part one needs to play in triangular mayhem with composure to make it stick. Of course, Moorehead inspires a few quizzical in amusement that lends support to both the unravelling curiosity along with generally being warm to follow in terms of devotion with an accent to match (hey, the accents are fine for me). Of course, Kellaway is the civil one for enjoyment on the level of a usual character actor that could just inhabit a role with a few choice sentences. Undeniably, the movie is so worthwhile to see in all of the shadows and angles (as shot by Joseph Biroc), which is gorgeously appropriate when it comes to crafting a tawdry tale (complete with carefully composed angles for such a suitable set (which come to a head in one eerie scene) with game actors and at least one rug-pull moment that will surely make a worthy dark joke. Sure, the movie wraps its strings quite a few times around itself to make a knot, but the game is worth playing nonetheless. Aldrich was a craftsman director worth following along with in his attempts at chasing the audience to entertain with whatever he felt like doing at the time. As such, there is a few good moments in suspense to justify a watch for those who love seeing a few familiar actors play along in Gothic strangeness for lively execution that endures after six decades because of the commitment behind it.
Overall, I give it 8 out of 10 stars.
167 reviews later, here we are at yet another New Year's Eve. Sure, last year was a bit busier, but October 2024 was a month to be proud of regardless. Since 2011, we've managed to review a movie on December 31st a total of 17 times, with only 2015 and 2017 being exceptions, and it was nice to try a double-header once again to try and top how things went from last year.
As a treat, I'd like to close off Season 14 by showing off a few concept ideas I had come up with MS Paint before settling on the final format in what accompanied each review in 2024. We shall see what Season XV brings in 2025. It will be a short wait for the next review.
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