She's well-mannered, classy and eloquent, which makes it that much better when she finally snaps. She is carrying the music box, her murdered lover's gift to her but she ceremoniously leaves it on the hall table as that part of her life is over forever. Her looks, her reactions, her completely closeted feelings are knowingly real and natural. As they proceed with their plans, things go awry and. I respectfully feel that the previous poster who felt that the ending made a case for her being insane and being carted off was off base on this one. Agnes Morehead was roundly praised in 1964 for her performance in this movie, and even got an Academy Award nomination. Farrell and Heller won a 1965 , from the , for Best Motion Picture Screenplay.
Anyway, I just feel compelled to let it out on this board, because I was just so stunned by it! She gives him an envelope to be opened only upon her death. Charlotte travels into the distance, away from the crowds and the sea of faces — and the viewer is left to pray for a glimmer of light, but is forced, frustratingly, to fear the worst. As Jewel Mayhew, widow of Bette's lover, Mary Astor gives her usual excellent performance, so subdued and realistic, that she seems to be in a different film. I will have to watch this movie again real soon. Charlotte's only companions are her old, white trash housekeeper, Velma Crother Agnes Moorehead and the family doctor, Drew Bayliss Joseph Cotten. The film offers a solid Gothic style mystery, one where a number of potential solutions are presented.
Nevertheless, despite its spotty campiness, unintentional funny moments, borderline flashback sequences, storyline holes and generally predictable plot, this is a spectacular film, especially considering the era in which it was made. Kudos for her to not care about her looks. The truth in this story is something like waking up from a horrible nightmare. This film was produced before the ratings system became necessary and the norm. Bette Davis nearly melts down from the heat of her own presence as a wealthy spinster who lives in a big mansion on a plantation that has interminably been in her family. The black and white cinematography is wonderful--giving the whole film a moody, creepy look. But, didn't manage to touch my heart except for a short scene here and there , which is a prerequisite for me to like most movies, even horror.
Not because I don't appreciate the fine peice of artistic film that it is. . Very much worth watching when you're in the mood for something highly entertaining. Charlotte's sanity deteriorates with Miriam's arrival, her nights haunted by a mysterious harpsichord playing the song that Mayhew wrote for her and by the appearance of Mayhew's disembodied hand and head. Joseph Cotten seems to relish his role as Miriam's doctor boyfriend, just as evil as she is but with a fine facade of pseudo-respectability. Not having seen her in years, they also now believe Charlotte is a crazy old woman, her mental state which turned at or before the murder. Hush, Sweet Charlotte is an engrossing film about the ruthless machinations of Miriam Deering Olivia de Havilland and her doctor lover Joseph Cotten as they try to push her cousin, the disturbed Charlotte Bette Davis over the edge in order to get Charlotte's inheritance.
Haunted by the murder of her former lover for which she may or may not have been the culprit , Charlotte is losing her mind when her cousin Miriam De Havilland comes to stay to try and convince her to leave before she is arrested by the developers for failing to leave her home. Hush, Sweet Charlotte is a 1964 American directed and produced by , and starring , , , and in her final film role. Those two reactions aren't exactly synonymous in my book. That's why it was a stunner to so many moms back in the day---and, not in a good way! Davis tops her baby Jane performance by not only creating a character with obvious problems, but also giving this character feeling, compassion, and an air of pity. Agnes Moorehead deserved her Academy nomination, while Mary Astor was a most welcome sight.
Be it twisted as it was, and I highly doubt it would have ever held up in a court of law. The story jumps to 1964. The cast also included , a friend of Davis' since their days at Astor retired from acting and died in 1987. The film is a solid horror film with some genuine shocks and extreme gore for its day. Beyond the movie, there are several bonus featurettes, only two of which I've seen thus far, but those alone are an indication that this is a 5-star package. My lone complaint is the length of the film.
It's just the two of us. The story would absolutely not work, for example, in a large urban area. Although the opening scenes are a bit 'gruesome', you know you are onto a winner when the title screens begin. A Southern belle Charlotte is lonely in her house. I really love the intimacy of a great film on my computer. Velma does her best to keep Charlotte calm and suspects that something is amiss.
The whole point of this movie is Charlotte clinging to the past, and at last having the courage to let go. Those brief moments of happiness in the spaces between her delusions, her father, who she clung to with all her pride, left an atom of hope. Davis, playing the titular Charlotte, disregards the eviction notice and refuses to leave, feeling that it is all she has in the world. Bette Davis as Charlotte Hollis is a strange combination between a crazy old woman and confused lady. For almost the entire duration of the film, Charlotte had me wildly on edge — and it was almost difficult to witness her transformation from psychopath into wounded and tortured little girl. At that though, these elements are extremely effective.