“Hush… Hush, Sweet Charlotte” Still Chills 1964

Bette Davis & Olivia de Havilland go head to head in 1964's southern gothic
suspense film, "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte was a follow-up to the surprise 1962 smash, What Ever Happened to Baby Jane? While Baby Jane was aptly released that Halloween, Charlotte oddly opened during the 1964 Christmas season. Both fright films got mostly good reviews and made money, but Baby Jane was the one that stayed fixed in movie fans’ memories, with its comic horror look at Hollywood. Still, Charlotte succeeds as a straight-up southern gothic suspense film. While there are numerous similarities to Baby Jane, Charlotte also has some surprises.

"Hush... Hush, Sweet Charlotte" was the 4th and last film that Olivia de Havilland &
 Bette Davis co-starred together.

Aside from the twisty tale, the top drawer cast really puts Hush… Hush, Sweet Charlotte over. Bette Davis, as Charlotte Hollis, gets a raucous role to sink her teeth into. Davis’ son, Michael Merrill, said that she initially didn’t want to play another hag horror role and thought the script was too gruesome. Even after Baby Jane, work and money for 50-something female stars were scarce, so Bette accepted Charlotte.

Victor Buono's a big daddy indeed, as Sam Hollis, who wants to make sure daughter
 Bette Davis doesn't become a Jezebel! 1964's "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte starts with a prologue in 1927 at the Hollis family mansion. Patriarch Sam Hollis is raging at John Mayhew, a married man who’s having an affair with his young daughter, Charlotte. After some wrangling, John agrees to end it. At a ball in the Hollis mansion, Charlotte’s married lover meets her at the “summer” house. She doesn’t take the news well, despite John’s claims that he did love her. Moments later, someone comes back. John thinks its Charlotte and whoever the visitor is, they brought a cleaver that’s been used to open champagne cases. The ball comes to a halt when Charlotte reappears with blood on her white ball gown. Though she is never charged, everyone assumes that Charlotte butchered John Mayhew. Cut to present day 1964, with eccentric Charlotte fighting the authorities over moving out of the family manse, to make way for highway construction. When Charlotte’s Cousin Miriam comes to help, it’s an even bumpier ride.

Bruce Dern's characters suffered grisly flashback demises in both 1964's
"Marnie" & "Hush... Hush, Sweet Charlotte." 

Young Charlotte's reputation is forever stained by the suspicion of murder of
John Mayhew, in 1964's "Hush... Hush, Sweet Charlotte."

While Bette Davis doesn’t hold back portraying Charlotte’s pepper pot personality, she has subtle moments too, such as scenes with a curious reporter, played by Cecil Kellaway. The same is true of Agnes Moorehead as brash but devoted maid Velma. Moorehead is truly outrageous in some scenes, especially when she spars with Charlotte’s villains. Agnes has sly silent moments as well as sincere ones, like when Velma aims to look out for Charlotte’s welfare. The veteran character actress makes the most of her over the top role and got a well-deserved Best Supporting Actress Oscar nomination, and winning a supporting Golden Globe.

Agnes Moorehead has a field day as fiesty housekeeper Velma, in 1964's
"Hush... Hush, Sweet Charlotte."

As Cousin Miriam, Olivia de Havilland makes one smooth villain. As the poor relation taken in as a child by the Hollis family, Miriam returns at Charlotte’s behest. Olivia’s honeyed gentility and wide-eyed concern harkens back to her classic role as Melanie in Gone with the Wind. Except this time, her southern cousin IS too good to be true. One of Olivia’s few bad girl roles, she’s quite intriguing, and only goes over the top like her other female co-stars when Miriam shows her hand—sometimes literally!

Olivia de Havilland plays "sweet" Cousin Miriam in "Hush... Hush, Sweet Charlotte."

Barbara Stanwyck said that she was never asked to play Miriam, as sometimes written, but was requested to play Jewel Mayhew, John’s wife. Which Stanwyck turned down, as the part consisted of two scenes. In this cameo role, Mary Astor as Jewel is mesmerizing. Mary plays a dying woman in her final acting job, and plays the role simply and hauntingly. Mary’s encounter with Olivia is zingy, and her long scene with Kellaway is melancholy. Astor makes every moment count.

Mary Astor is superb in her cameo role as Jewel Mayhew, the wife of Charlotte's
slain lover. From 1964's Hush... Hush, Sweet Charlotte."

There are several encore actors from Baby Jane: Victor Buono plays Charlotte’s imposing Big Daddy, Sam Hollis; Wesley Addy—Blanche Hudson’s “nice Dr. Shelby”—is the sheriff who must deal with cranky Charlotte; and Dave Willock, Baby Jane’s beloved daddy, is the cab driver who brings Miriam back to the scene of the crime.

Joseph Cotten was the original Dr. Drew! He's Charlotte's doc and Miriam's ex-suitor
 in 1964's "Hush... Hush, Sweet Charlotte."

Joseph Cotten offers his smooth southern charm, played with laconic humor, as Drew Bayliss, Charlotte’s doctor and Miriam’s former beau. Cotton co-starred with Bette Davis 15 years earlier, in her WB swan song, Beyond the Forest. George Kennedy just tangled with Crawford in Strait-Jacket, and does the same as head demolition guy in Hollisport. Bruce Dern plays John Mayhew, Charlotte’s married beau, in the prologue. Later, he’d work again with Davis, as one her criminal sons, in a very special Gunsmoke episode. Cecil Kellaway’s gentle scene stealing offers contrast to some of the ladies and their scenery chewing. And look for John Megna (Dill from To Kill a Mockingbird) as the new kid who’s dared to go inside outcast Charlotte Hollis’ mansion. Lillian Randolph, the beloved Annie of It’s a Wonderful Life, is one of the packing ladies; squeaky-voiced Percy Felton is the funeral director; The Waltons Ellen Corby and Helen Kleeb are local gossips; and Frank Ferguson plays the local newspaper editor, while he was playing Eli Carson on TV’s Peyton Place.

Hush… Hush, Sweet Charlotte has the same upsides and downsides as Baby Jane. On the plus side, the cast is uniformly good, the story entertaining, and the production values strong. The debit side is mostly director Robert Aldrich’s weak points. While he’s a strong storyteller at his best, Aldrich’s tendency to overstatement causes Charlotte to run 2 and ¼ hours, and like Baby Jane, about 15 minutes too long. Both movies have entertaining but lengthy prologues and drag a bit in the last half. Both thrillers have some plot points that don’t bear scrutiny. Also, both movies have theme songs that get reprised one time too many!

Cecil Kellaway as a curious reporter & Bette Davis as Charlotte share some subtle moments in "Hush... Hush, Sweet Charlotte."

Among the other similarities between Charlotte and Baby Jane: Prologues that get a kicker in the films’ finales; two outspoken housekeepers; Bette as a disturbed daughter with daddy issues; Davis’ antagonists are charming phonies; dead bodies that must be disposed of; and Charlotte and Jane’s last scenes are of them being gawked at by onlookers.

Charlotte and Baby Jane were made in the early ‘60s, when there was the last vestige of film glamour versus plot sense. In Jane, Joan Crawford’s invalid Blanche still has lovely nail polish and lipstick despite having been a recluse for three decades. In Charlotte, after Bette Davis bravely threw down the glamour gauntlet as bizarre Baby Jane, is this time out the star that sneaks in a little glam for her aging Jezebel. Though Charlotte Hollis has seen only the maid and her doc for the last 35 plus years, she still sports makeup mortician Gene Hibbs’ war paint. And wears high heels, when not running around barefoot sporting a nightie and a shotgun! If only Bette had sported a more authentic no-makeup look like co-star Mary Astor. But then, maybe that’s why Bette was playing the title role and Astor had a two-scene cameo. Interestingly, Olivia de Havilland shows her Paris way of life in her own Dior wardrobe and chic bouffant, plus makeup that stays inside the lines of her facial features!

"I thought this Gene Hibbs makeup was supposed to make me look younger!"

Much has been made of Joan Crawford’s departure from Hush… Hush, Sweet Charlotte. I’ll only say that Joan could have played the silky villain with assurance and style. In fact, Crawford played a number of charismatic, insincere types for nearly 15 years before Charlotte. Who knows whether Joan left because she was genuinely sick or just sick of sparring with Bette Davis. Crawford claimed illness in another tense situation nearly two decades before, on Oscar night of 1946, with similar speculation. What’s unfortunate is that some Joan fans take out their ire on Olivia, who was a reluctant last minute replacement. Crawford probably would have played in a grander style, closer to Bette and Agnes’ performances. But Olivia’s casting against type, as a cool villain is its own fun.

Joan Crawford was to play Cousin Miriam but claimed illness and dropped out.

Was this the sparkly dress that Olivia's Miriam found slashed in the closet?

Trivia: Was the sparkly dress that Olivia’s Miriam finds slashed in her closet the one that Joan’s Miriam wore for the homecoming dinner scene? Also, I found it amusing that Bette, who liked to slap co-stars as much as Joan did, chickened out in the car scene where Miriam drops her mask. Though new Miriam Olivia was a long-time friend and co-star, Bette asked that her slaps be faked, and it shows! Finally, while a younger double is used for Charlotte, why on earth did they use Bette’s 60-ish cigarette voice, where she attempted to sound younger?

And typical of the mid-century moviemaking, the flashback scene of a ‘20s party looks like a ‘60s prom with a flapper theme. Also unfortunate is that the only blood on Charlotte’s dress is on her lap area! At least the other girls didn’t throw tampons at her, like Carrie!

The story/script by Henry Farrell and Lukas is most clever, despite some holes in logic. The music by DeVol is atmospheric, and Joseph Biroc’s wonderful cinematography is striking and truly adds to the mood. Also, I’ve visited one of the two Louisiana’s mansions featured in Charlotte. Miriam’s home is actually Oak Alley Plantation and it is stunning.

Mary Astor as Jewel, with a the reporter, played by Cecil Kellaway. Jewel's home is
 represented by the Oak Alley plantation. "Hush... Hush, Sweet Charlotte."

Here’s my take on the legendary Baby Jane! https://ricksrealreel.blogspot.com/2016/10/bette-and-joans-acting-duel-whatever.html

Here’s the one other time Olivia played evil, in The Dark Mirror! https://ricksrealreel.blogspot.com/2023/07/10-takeaways-olivia-de-havilland-dark.html 

Bette Davis & Olivia de Havilland aren't exactly kissin' cousins in 1964's
"Hush... Hush, Sweet Charlotte."

 

 

 

 

Loretta Young Just Fine as ‘The Farmer’s Daughter’ 1947

 

As "The Farmer's Daughter," Loretta Young leads a fine cast in this 1947
romantic comedy: Joseph Cotten, Charles Bickford, and Ethel Barrymore.

In my sixth decade, I finally got around to watching the 1947 film The Farmer’s Daughter. I avoided this romantic comedy my entire movie watching life, thinking it silly and sappy.

While The Farmer’s Daughter is a total fairy tale, it is presented as such. The RKO comedy tweaks the premise, offering a wink at its "farmer's daughter" references, since Katie Holstrom is a Swedish Cinderella who makes good. The situations are totally unrealistic, but the dialogue and attitudes are surprisingly smart and forward-thinking for the era.

Loretta Young is "The Farmer's Daughter," who leaves her big family for the big city!

Young’s Katie leaves her farm home for the “capitol city” to become a nurse. The small town girl doesn’t even make it from the bus stop before getting conned out of her savings, by a boozy businessman. Katie finds work at the capital as a maid for the political Morley family. Her refreshing no-nonsense energy ends up charming the entire family, especially the politician son. Through a series of fanciful situations, Katie ends up running for congress! But there are a few bumps along the political stump before Katie Holstrom ends up a winner in every way.  

A bump in the road for "The Farmer's Daughter" is when she takes a ride from this bum!

There's a Frank Capra feel to this movie, with populist political attitudes spoon-fed with a bit of cinematic sugar. Message moviemaker Dore Schary produced this film, which may be the reason. It raises the modern eyebrow that a movie made over 75 years ago brings up the issues of a living wage, politicians paying more attention to their donors than constituents, mudslinging, etc. Some things never change!

Don't worry, this "Farmer's Daughter" doesn't dress in hand-me-downs for long!

The topic that always takes over The Farmer's Daughter was Loretta Young's surprise Oscar win in the title role. The consensus was that Rosalind Russell would win, also for RKO, with Mourning Becomes Electra. This was back in the day, when studios swayed their votes toward their own nominees. So, it was a shock that the studio didn't win for their favored nominee. As for the remaining noms, Joan Crawford waited 20 years since arriving in Hollywood to win an Oscar for Mildred Pierce two years before, so she wasn't gonna get a second one two years later for Possessed. Dorothy McGuire, a fine actress, wasn't even nominated for such recent roles in A Tree Grows in Brooklyn, The Enchanted Cottage, or The Spiral Staircase. Frankly, she only got nominated for her leading lady type role in Gentleman's Agreement because it was a "prestige" picture. That leaves Susan Hayward in Smash-Up: The Story of a Woman. Hayward got raves for her first nominated role, but perhaps the insider rumors that the film was a take-off on “beloved” Bing Crosby’s unhappy marriage to alcoholic Dixie Lee hurt her chances. Also, Susan waited as long as Joan to get her first Oscar. 

Loretta Young's surprise Oscar win overshadowed the charms of "The Farmer's Daughter."

That left Loretta Young, in the rare comedy performance that wins an Academy Award.  Was The Farmer’s Daughter an Oscar-winning performance? The short answer is no. But Young is in very good form here, playing with strength, spirit, and good humor as Katie. Her character is not the butt of jokes, and she perseveres and speaks her mind. A scene where Katie practices with a speech from the Morley family’s late senator to practice her English and public speaking is wonderfully done by a subtle Young.

A lovely scene in "The Farmer's Daughter," when Katie reads the late senator's speech.

Though this not being a realistic style film, I wish someone would have asked Loretta to tone down her glamour mask a bit. Ingrid Bergman, the original choice as Katie, certainly would have, as she often did when playing non-glamour roles. When she's asked about her life on the farm, Young's farm girl describes her indoor and outdoor chores in close-up, which is amusing to think of her harvesting crops and livestock in full makeup! Loretta Young could have certainly dialed it back a bit without losing her allure. Loretta had the natural looks that are so coveted and created by cosmetic procedures today: huge cat eyes, full lips, and high, rounded cheekbones. Also, her modest wardrobe is quickly replaced with stylish, form-fitting Edith Head maid frocks and later political outfits.

"The Farmer's Daughter" is the best-dressed maid in the capitol city!

But Loretta Young’s comedic performance is played straight with no winks to the audience. Which makes her character even more endearing, and you will be rooting for her as she goes from farm girl to house maid to political candidate.

Joseph Cotten was underrated during his era as an actor. Often cast for his warm charm, he usually got his best notices when cast as the villain, like Shadow of a Doubt. But his style was very natural in an era when leading men were hyper-masculine, especially post-war when stars like Heston, Lancaster, and Douglas were intense and often anti-heroes. Of course, as Glenn Morley, the politician son from a political family, he is instantly taken by maiden Loretta, which is a bit icky by today's standards. But Cotten pulls it off. Cotten plays the romantic comedy aspect smoothly and is empathetic in the more serious moments.

Joseph Cotten makes a very appealing leading man in "The Farmer's Daughter."

Ethel Barrymore as Cotton’s political matriarch Agatha brings style and droll humor to her role. And Charles Bickford is cast in curmudgeonly mode as the family butler Joseph, who instantly takes to Katie, despite her high spirited ways. Cotton, Barrymore, and Bickford play off each other well as the political household. And they are all charmed in their own way by Katie, who has worked her way into their hearts.

Katie wins the day and election in 1947's "The Farmer's Daughter." Loretta Young
 with Joseph Cotten and Charles Bickford.

As Katie's brawny brothers, James Arness, Lex Barker, and Keith Andes supply the muscle. During the big brawl at the finale, James Arness was indeed a giant of a hero, stacking up the bad guys like fire wood.

As for Loretta's accent, the voice coach who taught Ingrid Bergman to lose her Swedish accent taught Young hers. As for Young's accent, while I'm no expert, it sounded fine without being distracting. Note that Katie’s brothers are accent-free except for a few “yahs.”

These are the brawny brothers of "The Farmer's Daughter":
James Arness, Lex Barker, and Keith Andes.

The naysayers of The Farmer’s Daughter will pick away at the fairytale plot, Loretta's accent, or the politics not being to their liking. Watched with an open mind, it's a charming, bright movie.

As "The Farmer's Daughter," Katie is plain-spoken and often outspoken!

For Loretta fans, inspired by a true story, here's 1949's 'Come to the Stable' stars Loretta Young & Celeste Holm as two nuns on a mission from God to get a hospital built. This comedy-drama can be looked at as a spiritual tale or Hollywood fairy tale. Either way, it has heart and smarts, with Young & Holm giving wholehearted performances, supported by a wonderful cast. My look at this highly entertaining movie about making dreams come true: 

https://ricksrealreel.blogspot.com/2026/01/loretta-young-celeste-holm-shine-in.html

Scenery Chewing the Main Course of 'Soylent Green'

Soylent Green is not made of Thin Mints Girl Scout cookies!

Soylent Green is a 1972 sci-fi stink bomb that became a campy cult classic—in large part to Charlton Heston’s posturing performance.

Set in the year 2022, overcrowding, pollution, and lack of natural resources have reduced society's leaders to finding food for the teeming masses. The answer is Soylent Green — a mysterious artificial nourishment.

Chuck Connors & Chuck Heston fight over beige polyester ensembles and toupees at The Soylent Green Mall.

A main source for hilarity is, though set 50 years in the future, Soylent Green looks like That '70s Show. Sadly, polyester, toupees, and elevator music apparently still rule. The future is filled with then-aging stars from the '70s like Charlton Heston, Chuck Connors, and Joseph Cotten. The only young '70s star represented here is appropriately enough, Leigh-Taylor Young.

Edward G. Robinson as Sol, who decides to 'go home.' No one knew Eddie was dying of cancer during filming.

Edward G. Robinson steals the movie as Heston's ancient roommate, Sol, who remembers better days—and steaks. The actor was dying during filming, which no one knew. When his character decides it's time and wants out of this hellish world, Sol "goes home." This was assisted suicide, performed while he experiences all the pleasures in life that are long gone. It's a tearjerker scene, even without that knowledge. Robinson died two weeks after filming wrapped.

Joseph Cotten is also touching as the aging millionaire whose murder sets off the mystery of Soylent Green. Cotten was always an understated actor and his sad, gently weary performance is a touch of class.

Charlton Heston strikes a studly pose as he helps himself to a drink, from 'the furniture.' Dig the 'futuristic' decor!

Then there’s Charlton Heston, sporting a neck-kerchief and clenched jaw, once again exploring post-apocalyptic mysteries, as he did in Planet of the Apes and The Omega Man. Always a wooden actor, but in the ‘60s, Heston seemed to imitate the cynical anti-heroes that slightly younger Eastwood, McQueen, and Newman were playing. While they came across as young and restless, Heston’s snide, sneering, and stone-faced persona came across like Hollywood's most spoiled Hollywood square. Heston's either unbearable or unintentionally hilarious here. Everything he does is so over the top, right down to mopping his brow with a kerchief. And yes, he's in '70s mode, with his safari jacket, jaunty cap, and neckerchief, looking like the Village People's aging uncle—or Charles Nelson Reilly on steroids.

The rest of the cast is filled with great supporting actors like Brock Peters, Paula Kelly, Whit Bissell, Mike Henry, Leonard Stone, Cyril Delevanti, and even Dick Van Patten!

In the future, Taco Tuesday will be but a dim memory!

Soylent Green is a futuristic detective film very loosely based on Harry Harrison's Make Room! Make Room! It’s amazing that the similar but far superior Blade Runner came out just 10 years later. The Green movie version barely resembles Harrison’s book, which made Harry very unhappy. Ironically, the elements people remember most about the movie aren’t even in the book, including Soylent Green’s climatic revelation. I think that Harrison’s novel is probably closer to Joni Mitchell’s Big Yellow Taxi than Soylent Green’s futuristic thriller.

Heston is a Manhattan cop trying to solve a murder in the overpopulated, overheated city—and Charlton brings the overacting. The murder of a wealthy mogul seems related to the ubiquitous and mysterious Soylent Green. Hmm…

Despite or perhaps because of an abundance of dated attitudes, actors, and action—the schlocky Soylent Green is still highly watchable. And there is Heston's memorable closing line.

If you don't know its main ingredient, you probably also don't know that Psycho features Janet Leigh's last shower!

Chuck Henderson's amazing opening title sequence is truly the best part of Soylent Green. The documentary film maker does a great job encapsulating the rise and accelerated growth of the USA. It’s a real jolt, especially when you think Henderson created this in 1972.

Check it out here: http://www.artofthetitle.com/title/soylent-green/

Move along, people! Nothing to eat here!