donaldricco I watched this after having read the short story that it is based on, "What Ever Happened to Charlotte?", by Henry Farrell. This is a decent adaptation of that tale, and Bette Davis in the title role works well! And Agnes Moorehead is awesome! Like the story, I enjoyed the ending quite a bit, but I did feel like the film dragged a bit at times, and may have overextended itself with a plus two hour running time.

Mark Turner This past year a limited series ran called FEUD, this time around focusing on the behind the scenes feud between actresses Bette Davis and Joan Crawford, a long standing personal battle that resulted in flaring tempers as the two tried to resuscitate their careers with the film WHATEVER HAPPENED TO BABY JANE. In the case of Crawford the result found her in some terrible movies while Davis went on to star in roles on TV and films. At the end of the series it discussed their reteaming under the same director, Robert Aldrich, for the film HUSH HUSH SWEET CHARLOTTE. Their battle of wills resulted in Crawford being dismissed from the film and replaced by Olivia de Havilland and the film being completed. Why mention this? Because it provides an interesting backdrop when looking at the film now on blu-ray from Twilight Time.The movie opens in 1927 in the antebellum south with a party being held by Charlotte Hollis father (Victor Buono). Charlotte has made plans to elope with her lover John (Bruce Dern) but before this takes place her father confronts John with the fact that he knows he is already married. Realizing he can't leave with Charlotte he breaks off with her. That same night someone takes a meat cleaver to John and Charlotte is thought to be behind the killing.The story moves forward to 1964. The grand old house is in ruins and Charlotte lives their almost alone, an aging spinster with only Velma (Agnes Moorehead) there to keep her company. Times are worse than Charlotte realizes with the house set for demolition since a new highway is to be built here. Charlotte confronts the construction crew armed and after the sheriff intervenes is given days to move out.Seeking help Charlotte has convinced her cousin Miriam (de Havilland) to return and help her. Arriving from New York Miriam does her best, renewing her romance with local doctor Drew Bayliss (Joseph Cotton) and trying to help. But as the days pass it seems that Charlotte may have gone mad over the ensuing years since Miriam left. She sees images of John at night and fears that her father, the man she thought murdered John all those years ago, is back as well.Something isn't quite right here and we as viewers know it. Velma does her best to keep Charlotte calm and suspects that something is amiss. But just who is behind it we're not sure. Was John really murdered all those years ago? Did Charlotte actually do it and now is racked with guilt over her actions? Or is there some other mystery long buried over the years that is only now playing out? The film offers a solid Gothic style mystery, one where a number of potential solutions are presented. Davis performance would seem a bit on the hammy side if it weren't for the fact that the method she employs here adds credulity to the character of Charlotte and her eccentric ways. Aldrich, who moved on to bigger and better films like THE FLIGHT OF THE PHOENIX, THE DIRTY DOZEN and THE LONGEST YARD does a great job of bringing his cast together to offer performances that are among their best.If you read my reviews you may tire of hearing me saying this but yes, Twilight Time has brought a great looking offering here with a fantastic looking print. They've done a great job with extras this time around as well which include an isolated score track, audio commentary track with film historians David Del Vale and Steven Peros, audio commentary track with film historian Glenn Erickson, HUSH…HUSH, SWEET JOAN: THE MAKING OF CHARLOTTE, BRUCE DERN REMEMBERS, Wizard Work, TV spots and the original theatrical trailers. As always it's limited to just 3,000 copies so if you want one order today.

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.

Spikeopath Hush…Hush, Sweet Charlotte is directed by Robert Aldrich and written by Henry Farrell and Lukas Heller. It stars Bette Davis, Olivia de Havilland, Joseph Cotton, Agnes Moorehead, Cecil Kellaway and Mary Astor. Music is by Frank De Vol and cinematography by Joseph F. Biroc.It's 1927, the Louisiana plantation home of Sam Hollis (Victor Buono), and Charlotte Hollis (Davis) is having an affair with a married man, John Mayhew (Bruce Dern). After a heated argument between Sam and John, John is brutally slain by an unseen assailant, only Charlotte appears on the scene covered in blood. Then it's the present day and just Charlotte and her house keeper, Velma (Moorehead), live at the Hollis mansion, Sam having passed away many years ago. Charlotte is mentally scarred from the echoes of the past, she's a recluse and seen by the townsfolk as the local mental case. As developers try to plough a road through the Hollis home, Charlotte sends for her cousin Miriam (Havilland), but then strange things start happening and Charlotte might once and for all tip over the edge.A bit long at 2 hours 13 minutes and a bit too bonkers at times, Hush… Hush, Sweet Charlotte still comes out as glorious Guignol entertainment. The setting is perfect, a Baton Rouge locale of whispering trees and ominous foliage, the Hollis mansion a place of dark secrets, shadowy halls and mental disintegration. Biroc's black and white photography seems to revel in the misery and emotional turmoil that blows about the place, and the brilliant Aldrich unleashes delirious turns from Davis and Moorehead as the others play perfectly restrained foil. There's a strong mystery element driving the plot forward, because what we think is true may not actually be the case? The narrative deftly reveals back stories as film progresses, hints at means and motives dangle tantalisingly in the Gothic tinged air, and then the finale doesn't disappoint, it has some surprises in store and closes the picture down handsomely.Best served with a good helping of Sour Mash, Hush…Hush, Sweet Charlotte is Southern Gothicana with bells on. Or should that be Belles? 8/10