Com a Maldade na Alma

It's tough to beat this for a good, deep cast: Bette Davsi, Olivia de Havilland, Joseph Cotten, Agnes Moorhead, Cecil Kellaway, Victor Buono, Mary Astor and Bruce Dern.

My favorite character in here was played by Moorhead. She was excellent as the eccentric (but very perceptive) housekeeper. I wish Kellaway's role had been bigger. It was interesting, too, to see such a young Dern. Davis looked really grotesque, but that was the idea. Kudos for her to not care about her looks.

Speaking of looks, the best feature in here might have been the cinematography. I have not seen this on DVD but I'd like to and wonder if it looks tremendous. It sure looked good on VHS. And that theme song! It is played throughout the movie and once you hear it, as I first did in the theater over 40 years ago, you never forget it.

My lone complaint is the length of the film. At 133 minutes, I think it would have been a lot tighter and better at about 110. However, even though there were definite lulls in the story, they were never that long in length.

Following soon after "Whatever Happened to Baby Jane", I originally thought that "Hush Hush Sweet Charlotte" would be a letdown - far from it, in my opinion, much better due a great deal to the cast of great actors and actresses. Bette Davis was in her element in this role of Charlotte, while Olivia de Havilland in the role originally planned for Joan Crawford was superb, and was an inspired piece of accidental casting! Agnes Moorehead deserved her Academy nomination, while Mary Astor was a most welcome sight. Joseph Cotten normally seems very wooden in his parts, but does an excellent job here. The Black and White photography adds a great deal to the mood, and is far better than Colour would have been. The ending was very well planned and carried out, and you feel after the film ends there is something else that happened that the viewer never saw. Get it on Video - it is well worth the experience.

Well, I loved Bette Davis' performances, as a rule. But I'm willing to bet that even NON fans of Davis would appreciate her tour in this particular movie. Following two years after "Whatever Happened to Baby Jane?", "Hush...Hush, Sweet Charlotte" is nevertheless four times the film of its more noted predecessor. The reasons for this are four=fold. The script, though occasionally unintentionally funny, is still crisper, more believable and contains a more satisfying ending. Next, Davis' is more balanced by the performances of DeHavilland, Cotton, a more mature Victor Buono, and the great Agnes Morehead. Thirdly, we have a better set and setting, more attuned to the genre. Finally, the cinematography is several notches better, in my opinion. Adding it all up, you have an exceptionally fine example of that unique genre, the gothic melodrama. In this movie, the genre is virtually defined! If asked to name an example to a "top twenty" or "top fifty" movie list, "Hush...Hush, Sweet Charlotte" would definitely make the cut.

This film was meant to be a kind of sequel to "Whatever Happened to Baby Jane?". However, this film is missing the dynamic of those dueling actresses, Joan Crawford and Bette Davis, present in the first film. Instead we have the perennial sweet thing of the golden age of Hollywood, Olivia de Havilland, playing opposite to Bette Davis. Plus Olivia and Bette were always friendly in spite of both being very ambitious at the same time and the same place - Warner Brothers of the 1930s and 40s.

As a teenager Charlotte Hollis (Bette Davis) was presumed guilty of killing her married lover. And no wonder, she wanders into the family mansion during a society ball the night the man was killed covered in blood and in shock. Her wealthy father managed to fix it so she never faced charges, but Charlotte has lived as a recluse ever since, always presumed guilty by her neighbors and the press, and therefore shunned for the past 37 years.

She is facing eviction from the family plantation since her property is in the path of a new road that is being built. Her cousin Miriam Deering (Olivia de Havilland) comes to visit during this time to try and get her to come to terms with moving. With Mary Astor as Jewel Mayhew, the widow of the murdered man, and Agnes Moorhead as the housekeeper.

Charlotte's problem besides being evicted? She has been receiving anonymous mail for years tormenting her about the killing and she is starting to see things that are not there. Or are they?

I actually liked this film better than "Baby Jane" because I always felt that film was too long and too claustrophobic. Plus for once I liked the production code ending, the twist at the end, and justice like it was out of a Looney Tunes cartoon.

John Mayhew (Bruce Dern), a married man, is having an affair with Charlotte Hollis (Bette Davis). When Charlotte's father, Sam (Victor Buono), a local bigwig (the town is even named after the family) finds out that John was planning on eloping with Charlotte, he demands that John tells Charlotte during a big party that he's breaking off their relationship. John ends up dead, and Charlotte is the likely suspect. Thirty-seven years later, Charlotte is still living as a recluse on her family's plantation, but now she is being forced to move, as a highway is going to be built across her property. Gradually, people come back into her life to ostensibly help her.

For at least the first 45 minutes to an hour or so into the film, Hush . . . Hush, Sweet Charlotte is a 10 out of 10. Unfortunately, given a 133-minute running time, director Robert Aldrich can't sustain the intensity for the length of the film, but Hush . . . Hush, Sweet Charlotte finishes as an 8 out of 10 for me.

Although there are some thriller and horror elements, both take up relatively little screen time. At that though, these elements are extremely effective. Some parts are surprisingly graphic for 1964--just enough to be a surprise and evoke the appropriate sense of shock. The best horror/thriller material in the film is in the haunted house vein, and for a time, we wonder if Hush . . . Hush, Sweet Charlotte is going to end up being a ghost story.

But the focus here is primarily on Charlotte and Miriam Deering (Olivia de Havilland) and their relationship to one another. Davis and de Havilland are both incredible in the film, and both go through a very wide range of emotions. Oddly, Agnes Moorehead (as Velma Cruther) was more recognized for her performance than the rest of the cast in terms of awards and nominations, with de Havilland receiving neither. Not that Moorehead wasn't good, but in my view, she wasn't the standout performance. However, that's just further fuel for my belief that the Academy Awards have little to do with rewarding the best films, actors and filmmakers.

There are also broader themes explored as a subtext, including the changing way of life in the southern United States between the early and mid-20th Century.

I subtracted two points because the film lost a bit of its momentum and direction in the middle, but the last half-hour is as exciting as the beginning.