Hush Hush, Sweet Charlotte

Tags

1960's, Agnes Moorehead, Bette Davis, Bruce Dern, Cecil Kellaway, Hush Hush Sweet Charlotte, Joseph Cotten, Mary Astor, Mystery, Olivia de Havilland, Psychological Thriller, Robert Aldrich

Film Title

Hush Hush, Sweet Charlotte

Director

Robert Aldrich

Starring

• Bette Davis as Charlotte Hollis
• Olivia de Havilland as Miriam Deering
• Joseph Cotten as Doctor Drew Bayliss
• Agnes Moorehead as Velma Cruther
• Cecil Kellaway as Harry Willis
• Mary Astor as Jewel Mayhew
• Bruce Dern as John Mayhew

A heady and creepy psychological thriller, Hush Hush, Sweet Charlotte may be overblown but that almost adds to the fun of the unusual mystery and watching stars from the Golden Age of Hollywood show off their chops in this ghoulish affair.

We begin in 1927 Louisiana. The eponymous Charlotte is a young girl of a prominent family. She has been conducting an affair with married man John Mayhew and they plan to elope. But Charlotte’s father gets wind of this and tries to put a stop to it, for fear of his family name being tarnished. On the night they plan to elope at a party, John is brutally murdered in the summer house, decapitated and with one of his hands cut off . Charlotte discovers his corpse, which leads many to believe that it was her who murdered John after he tried to break off their affair. We then fast forward to many years later; Charlotte’s father has died and she has inherited his Antebellum mansion. But the memory of John’s murder and the knowledge that everyone believes it was her who killed him, has driven Charlotte to near madness. She lives as a recluse in her old house, with only her slightly kooky but loyal housekeeper Velma Cruther as company. Events for the near mad and extremely traumatised Charlotte come to a head, when it comes through that her house, due to her ignoring the eviction notice, and the Highway Commission wants to tear the house down to make a road. The increasingly disturbed Charlotte is against this and violently refuses to leave. Secretly though, Charlotte is worried and it is here that she calls upon the help of her cousin Miriam Deering, who grew up with her as a child. Yet as soon as the almost saintly Miriam arrives and reconciles with her old boyfriend Dr Drew Bayliss(who himself sometimes checks on Charlotte), strange events begin to unravel around the house and in particular Charlotte. Yet while Drew and Miriam write off Charlotte’s ramblings about seeing things in the house, could something sinister aimed at the emotionally distraught Charlotte really be afoot? Is Charlotte just haunted by her past? Or does her demure cousin Miriam have something dark to hide? And most of all, who was it that killed John Mayhew?

After the success of What Ever Happened to Baby Jane?, it seemed only fitting for director Robert Aldrich to return to the Gothic atmosphere of that movie. Yet while there are similarities in the two, Sweet Charlotte has more of a mystery to it(as well as psychological thrills) which makes for spooky viewing. All the conventions of Southern Gothic are here; near crazed southern belles haunted by the events around them, sinister shadows and a Louisiana setting. It’s all a very well done brew with Aldrich confident in his direction. The black and white visuals are ghoulishly effective and create a real atmosphere of suspense and unraveling horror. As I mentioned earlier, Hush Hush, Sweet Charlotte is overblown to be sure as emotions run wild between the characters, in particular Charlotte. At times the melodrama can creek a little and become a bit too much, but for most of the time, it is still devilishly good and deviously twisted. In fact the melodrama sometimes adds to the cauldron of twisted mystery and due to the stars in the film, is very well done. There are a few moments of unexpected gore which surprised me for a film of the time this  was released, but at least it added to the unpredictability of the piece. Most of the chills however stem from the atmosphere conjured up throughout. A slithering score that hits the crescendos of terror and the bristling sense of menace is marvellously scored.

The cast of acting greats is a real delight and they all sink their teeth into the questionable characters of the film. The excellent Bette Davis fully unleashes a gamut of emotions as the terrified and traumatised Charlotte. In almost ever scene of the film, the talents of Davis when it comes to unrestrained acting are second to none as we sympathise with Charlotte because of the horror she endures, even if some of it may not actually be there. Olivia de Havilland on the other hand is more subtle but still very effective with her performance as the seemingly kind and ladylike Miriam. I like the way that de Havilland establishes a nice aura around Miriam, but then little by little gets us to question what darkness may lie beneath her respectable persona and what she knows about the ghoulish events. Joseph Cotten does similar work to de Havilland as the doctor of the town, seemingly jovial and good-hearted, but with the knowledge that something is not quite right. Stealing the show is Agnes Moorehead as the housekeeper who becomes the first to suspect foul play. With a ragamuffin appearance and theatrical glee, Moorehead throws herself into the part with great results. Cecil Kellaway exudes upper-class and well-educated upbringing as an insurance investigator who is most curious about the murder case and the monetary value of it. In what was her last film role, Mary Astor is suitably enigmatic as the ailing widow of John, who has her own secrets lurking around. A young Bruce Dern has the small but pivotal role of John, whose murder is the catalyst for all the chaos that engulfs the fragile Charlotte.

So if you can handle an occasionally over the top and wild psychological thriller, tinged with growing mystery and Southern Gothic elements, Hush Hush Sweet Charlotte is the film for you. And plus with the classic actors featured, it all adds up to a dark and mysterious film, powered by their performances.

They Shoot Horses, Don’t They?

Tags

1960's, Bonnie Bedelia, Bruce Dern, Dance Marathon, Drama, Gig Young, Great Depression, Jane Fonda, Michael Sarrazin, Red Buttons, Susannah York, Sydney Pollack, They Shoot Horses Don't They?

Film Title

They Shoot Horses, Don’t They?

Director

Sydney Pollack

Cast

• Jane Fonda as Gloria Beatty
• Michael Sarrazin as Richard Syverton
• Gig Young as Rocky
• Susannah York as Alice LeBlanc
• Red Buttons as Harry Kline
• Bonnie Bedelia as Ruby
• Bruce Dern as James

They Shoot Horses, Don’t They? is a cathartic, emotionally intense and allegorical look at the Great Depression seen through the weary eyes of those entered into a dance marathon. Desperation, broken dreams and manipulation all feature heavily in the well-acted story of the extreme lengths people will go to in times of economic decline.

In 1932, Richard Syverton is a drifter who one day stumbles upon a dance marathon, the prize for the winner being $1500 . He is then recruited by the manipulative Master of ceremonies Rocky to partner a cynical and discontented young woman named Gloria, when her partner falls ill. Although they barely know each other, they enter for the money that is much-needed at this time in their lives. Amongst the other contestants are Harry Kline, an old sailor who refuses to give up; Alice LeBlanc, a deluded English actress with dreams of making it big, and Ruby, a pregnant woman and her husband James.  As the contents starts, we witness how the oily Rocky exploits the insecurities of the couple’s for the audience’s enjoyment and how he puts them through a series of humiliating tasks. This begins to take its toll on the contestants as nerves begin to fray, anger begins to boil and pain becomes all to real. The film in part resembles what reality TV might have been like in the 30’s and the manipulative machinations that go on behind the scenes for the audience’s pleasure. It also functions as a haunting study of desperation within everyone and how it is brought to light through circumstance.

The use of lighting particularly shadows and hues of sepia conjure up a bleak picture of desperate people just trying to get along in this time of hardship. The various uses of old music further capture a nation’s melancholy but still a fleeting bit of hope; most apparent when the pregnant Ruby sings “The best things in life are free” in an emotion choked voice still clinging to her belief that something good will happen. Sydney Pollack has created an immensely believable portrait of the Great Depression and he should be praised for his kinetic direction during the exhausting derby that the contestants are put through. We are placed within this melee of people trying to stay on their aching feet as they race aimlessly round a course. By the end, your emotions are exhausted from the shock of seeing it. The cast assembled for the picture excellently embody the emotions of these people just needing to win. Jane Fonda is the biggest revelation as Gloria, essaying a multi-layered performance of desperation, cynicism and melancholy.  Her scenes with Michael Sarrazin are outstanding, as we witness two strangers closely forming a deep relationship against a backdrop of pain. Sarrazin exudes so much emotion through his searching eyes it is unbelievable. The supporting cast is equally as strong. Gig Young stars in an unforgettable Oscar-winning portrayal of greed and mendacity, his shouts of Yowza becoming menacing and taking on sinister tones as the contestants continue to dance for his enjoyment. Susannah York is heartbreaking as the deluded Alice, who for all her glitzy gowns and make-up can’t escape the desperation of her life. Her breakdown in the shower is so intense and shocking, as an audience all we can do is witness it as her blue eyes become haunted. Red Buttons, Bonnie Bedelia and Bruce Dern further add to the dramatic impact of the film.

All in all, They Shoot Horses, Don’t They? is not the most comfortable film to watch but is certainly a devastating evocation of anguish and the need to survive. If it’s dramatic emotional viewing that you require, try this film from Sydney Pollack.