एक पूर्व बाल कलाकार हॉलीवुड की हवेली में अपनी परोपकारी बहन को सताता है।एक पूर्व बाल कलाकार हॉलीवुड की हवेली में अपनी परोपकारी बहन को सताता है।एक पूर्व बाल कलाकार हॉलीवुड की हवेली में अपनी परोपकारी बहन को सताता है।
- 1 ऑस्कर जीते
- 5 जीत और कुल 11 नामांकन
Anne Barton
- Cora Hudson
- (as Ann Barton)
Barbara Merrill
- Liza Bates
- (as B.D. Merrill)
फ़ीचर्ड समीक्षाएं
Interesting, to see comments dismissing WEHTBJ? as a "gay" film, or "cult" film, etc.
As a writer/producer who lived and worked in Hollywood for 30 years, I submit that those comments represent a "denial syndrome" of people who are ignorant of the facts of Hollywood.
What is so "horrifying" about WEHTBJ? is that the film is an utterly realistic psychodrama about two specific sisters of that era.
It's easy to say that Bette Davis' performance/makeup was "over the top," except that they weren't. In fact, I thought her look was taken from a sad "street person" in Hollywood who, in her seventies, walked up and down Hollywood Boulevard in a pink ball-gown and dead blonde wig and thick makeup, speaking into a transistor radio she held to her ear -- in the 60s, long before cell phones -- "talking" to the FBI about people chasing her.
Perhaps those who've spent their lives elsewhere, other than in Hollywood, feel that the characters in WEHTBJ? are "over the top." But they're not.
That's what makes them so heartbreaking. And the incredibly brave performances by Joan Crawford, Bette Davis, Victor Bono and the rest -- not to mention the script and Robert Aldrich's direction -- make this simply the most definitive "Hollywood" psycho-thriller since "Sunset Boulevard."
There's "A Star Is Born," in any of its incarnations. Which is also "true" in its (their) way.
And there is "Sunset Boulevard" and "Baby Jane," which are even more true, and more brilliantly made.
These are not "horror films." They are riveting psychological studies, cast with astonishing actors, and magnificently directed and photographed.
They are the equivalent of Hitchcock's "Psycho," IMHO, which was preceeded by "Sunset Boulevard" and followed by "Baby Jane."
Each different, each brilliant, each marked by some of the most indelible performances ever captured on film.
It's typical of adolescents to make a "joke" about things that make them uncomfortable.
But when experience and age acquaint one with people like Baby Jane and Norma Desmond and, yes, Norman Bates, what's the point of joking?
These three films will tell those characters' stories forever, and better than 99% of films ever made.
That's why they're classics.
As a writer/producer who lived and worked in Hollywood for 30 years, I submit that those comments represent a "denial syndrome" of people who are ignorant of the facts of Hollywood.
What is so "horrifying" about WEHTBJ? is that the film is an utterly realistic psychodrama about two specific sisters of that era.
It's easy to say that Bette Davis' performance/makeup was "over the top," except that they weren't. In fact, I thought her look was taken from a sad "street person" in Hollywood who, in her seventies, walked up and down Hollywood Boulevard in a pink ball-gown and dead blonde wig and thick makeup, speaking into a transistor radio she held to her ear -- in the 60s, long before cell phones -- "talking" to the FBI about people chasing her.
Perhaps those who've spent their lives elsewhere, other than in Hollywood, feel that the characters in WEHTBJ? are "over the top." But they're not.
That's what makes them so heartbreaking. And the incredibly brave performances by Joan Crawford, Bette Davis, Victor Bono and the rest -- not to mention the script and Robert Aldrich's direction -- make this simply the most definitive "Hollywood" psycho-thriller since "Sunset Boulevard."
There's "A Star Is Born," in any of its incarnations. Which is also "true" in its (their) way.
And there is "Sunset Boulevard" and "Baby Jane," which are even more true, and more brilliantly made.
These are not "horror films." They are riveting psychological studies, cast with astonishing actors, and magnificently directed and photographed.
They are the equivalent of Hitchcock's "Psycho," IMHO, which was preceeded by "Sunset Boulevard" and followed by "Baby Jane."
Each different, each brilliant, each marked by some of the most indelible performances ever captured on film.
It's typical of adolescents to make a "joke" about things that make them uncomfortable.
But when experience and age acquaint one with people like Baby Jane and Norma Desmond and, yes, Norman Bates, what's the point of joking?
These three films will tell those characters' stories forever, and better than 99% of films ever made.
That's why they're classics.
Ryan Murphy's series "Feud" in which Jessica Lange and Susan Sarandon play Joan Crawford and Bette Davis at the time of Baby Jane and beyond. I got so engrossed the series that I had to see What Ever Happened To Baby Jane again. Wow! Now, it all feels slightly different, less campy more poignant. Joan Crawford as played by Jessica Lange - the best performance by an actress in many, many years - is a totally recognizable person, crazy or not. When George Cukor tries to convince Joan not to be so vindictive "you're better than this Joan" to what Crawford/Lange replies: "No George, I'm not" Fantastic! Like another user already mention, I agree What Ever Happened To Baby Jane and Feud will be feeding each other keeping each other alive for generations to come.
I don't think I walked into this one with the right set of expectations. I expected a low-fi, creepy bit of occult-tinted fun from an age before horror films were bloated, over-done sacks of crap, and what I got was much different. I wouldn't really say this is a straight horror movie like Psycho or The Birds, as it unfolds itself like a riveting drama of two sisters instead. The acting is phenomenal, though, at least from our two lead characters, and the way they play off each other is just fantastic. This one takes a while to get going, but once it does, you are in for a high-octane, creepy thrill ride. Recommended to fans of older horror/suspense type movies.
Bette Davis and Joan Crawford were the biggest rivals during the golden age of Hollywood.This is their only collaboration.In the beginning of the movie we're at 1917, where the six-year old Baby Jane Hudson (Davis) is a successful Vaudeville performer.Then we move to 1935 where her sister Blanche (Crawford) becomes paralyzed in an automobile accident for which Jane is held responsible.In the present-day of the film we see Blanche being kept as a prisoner upstairs of their mansion by the sadistic Jane.Robert Aldrich' What Ever Happened to Baby Jane (1962) is a terrific psychological thriller with some black comedy.The leading ladies are truly magnificent.Bette Davis was born a hundred years ago in 1908 and died in 1989.She could play all kind of roles and make the characters memorable.Baby Jane Hudson is that kind of a role.Joan Crawford lived from 1905 to 1977 and started making pictures during the silent era.Her Blanche Hudson is vulnerable and that's why we like her that much.A fine performance is given by Victor Buono who plays the shiftless musician Victor Flagg.Maidie Norman plays Elvira Stitt.Michael Fox, who the soap opera fans remember from The Bold and the Beautiful plays Motorcycle cop.This movie is a classic.
I've always being a fan of What Ever Happened To Baby Jane. I saw it for the first time as a teenager and Bette and Joan became my obsession. I tried to see everything they had done and did I? All About Eve, The Little Foxes, Now Voyager as well as Mildred Pierce, Humoresque. I warmed up quicker to Bette. Her horrible women were priceless and she was fearless. Joan Crawford kept me at a distance, I think the cosmetics got in the way. But now, watching Baby Jane in 2017 - thanks to the amazing Ryan Murphy series "Feud" - I saw a very different Crawford and her performance has grown in scope and depth. I know I shall see this film again. Fascinating to realize there is still so much to discover.
क्या आपको पता है
- ट्रिवियाAccording to Bette Davis in her book "This N' That," the film was originally going to be shot in color. Davis opposed this, saying that it would just make a sad story look pretty.
- गूफ़In the 1935 time line (11 minutes into the film), Ben Golden (Bert Freed) and Marty McDonald (Wesley Addy) are walking past a row of buildings in the studio discussing Baby Jane's acting. There are window air conditioners in almost every upper floor window of the 2-story building behind them. But the first window air conditioner wasn't marketed until 1938, and it wasn't until 1947 that they were mass-produced.
- भाव
Blanche: Jane, do you remember when I first came back after the accident?
Jane: You promised you wouldn't ever talk about that again.
Blanche: I know I did. But I'm still in this chair. After all those years, I'm still in this chair. Doesn't that give you some kind of responsibility? Jane, I'm just trying to explain to you how things really are. You wouldn't be able to do these awful things to me if I weren't still in this chair.
Jane: But you *are*, Blanche! You *are* in that chair!
- इसके अलावा अन्य वर्जनThe original British release was cut in two places: in Reel Four, where Jane kicks Blanche only once instead of multiple times, and Reel Six, which eliminated some shots of Blanche tied up to the bed and writhing. Both cuts were mandated by the BBFC in order to receive an "X" certificate. Subsequent reissues restored the footage.
- कनेक्शनEdited into The Time That Remains (2012)
- साउंडट्रैकI've Written a Letter to Daddy
Music by Frank De Vol
Lyrics by Bob Merrill
Performed by Bette Davis
Also performed by Julie Allred (dubbed by Debbie Burton)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइट
- भाषा
- इस रूप में भी जाना जाता है
- बेबी जेन को कभी क्या हुआ?
- फ़िल्माने की जगहें
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $9,80,000(अनुमानित)
- दुनिया भर में सकल
- $4,451
- चलने की अवधि2 घंटे 14 मिनट
- रंग
- पक्ष अनुपात
- 1.85 : 1
इस पेज में योगदान दें
किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें