HUSH... HUSH, SWEET CHARLOTTE
US, 1964, 134 minutes, Black and white.
Bette Davis, Olivia de Havilland, Joseph Cotten, Agnes Moorehead, Cecil Kellaway, Mary Astor.
Directed by Robert Aldrich.
Hush... Hush, Sweet Charlotte was made by the same team that made What Ever Happened to Baby Jane. It was meant to capitalise on the box office success of the former film. It succeeded. Originally Bette Davis and Joan Crawford were to
appear again. However, Joan Crawford became ill and Olivia de Havilland, despite her not wanting to appear as a villainess, took over the role. Her sweetness is all the more sinister as it turns towards horror and guilt. In this film she is in league with Joseph Cotten against Bette Davis. Mary Astor and Agnes Moorehead are following in the example of the leading actresses in also turning in horror roles.
The success of Hush, Hush Sweet Charlotte and the other films of the time that Bette Davis was making, e.g. Dead Ringer, The Nanny, meant that many actresses became interested in being in horror films. Olivia de Havilland herself then went on to make Lady in a Cage. Hush, Hush Sweet Charlotte is an enjoyable Gothic horror in itself, and an example of how Hollywood can capitalise on a trend.
1. How enjoyable a film was this? How similar to whatever Happened to Baby Jane? How did it use Bette Davis? Did it exploit her and her capacity for horror films?
2. How black was this film and how sombre? Its portrayal of madness? Its portrayal of gore? Whom was it meant to appeal to? Is it a favourable thing to have this kind of appeal, to madness and blood? What values for entertainment are there in this kind of film?
3. How obvious was it that this film had a big budget? How did it use it for locations, atmosphere? As a baroque horror film? Luxuriant in its settings and in its horrors?
4. Comment on the effectiveness of the prologue. The transition from 1927 to 1964? The build-up for theme, plot, awareness of Charlotte? Charlotte during the credits and the pathetic appearance she made? The tone of the music and song? The film's focus on Bette Davis? Did she gain audience sympathy immediately?
5. Did the film give insight into the character of Charlotte? Audience response to her in the prologue, her affair, her father's treatment of John, her father's treatment of her, the dance and the blood on the dress? The transition to her strident tones and the land developers? Her firing the gun? The relationship with Velma? Her living with her memories and wealth? Living with memories and guilt? Her fear of Jewel Mayhew , her relying on cousin Miriam, on Dr. Drew, how mad was she, how much in torment, the details of her worry? Her response to Miriam and the change, her becoming a victim, her suffering at the hands of Miriam? The scene with her memories of John and her father, the shooting of Drew, disposing of his body, being victimised by Miriam? The impact of the truth, the ending and the reading of the letter? Why was Charlotte's character so rich in this film - detail, incidents, Bette Davis' characterisation? Did Charlotte seem a real character? In the American south and the decaying south?
6. How important was decay and change for the film? The house and its being pulled down, from past to modern eras? The class question of the rich and the poor? The background of money and Sam Hollis's gaining of money? Decay and evil and guilt?
7. How important was the theme of guilt? Who were the people who experienced guilt? Who had consciences and who did not? How was conscience and guilt linked with suffering?
8. How attractive was cousin Miriam at first? Olivia de Havilland's personality? Her kindness to Charlotte? The irony of her relationship with Velma and Velmia's seeing the truth? Miriam as kind on the surface? How shocked were audiences to discover the truth? When she became worse and domineering? Her hardness? How insane was she? The irony of her death? The truth of the past as regards Jewel Mayhew, Drew, Charlotte?
9. How villainous was Drew? Surface respectability changing into guilt? The nature of his complicity? His greed? Was Miriam right about his abilities to be senior partner?
10. The importance of Velma for the film? Agnes vigorous performance, her appearance, her love for Charlotte, her gruffness, her going to Harry Willis? The important sequence of her helping Charlotte and her death? What tone did she add to the film?
11. How did Jewel Mayhew contrast with them all? Her dignified appearances, her impending death, her response to Miriam? The irony of the truth about the murder and blackmail? The letter?
12. How did the characters eventually give more perspective to the incidents of 1927: the father and people thinking of his guilt, the significance of his encounter with John, the characters and the effect of the death on them? Charlotte's father in reality? Contrasting with Charlottes memories of John, the happiness, the song, the dancing, eventual shooting? Charlotte's memories of the hold of her father?
13. How important was Harry Willis to the film? Providing narrative background? Sympathy for Jewel and for Charlotte? A prod to Miriam? His role at the end for the truth? His memories of Charlotte in the past?
14. The importance of minor characters like the photographer and his lurid story and photographing of Charlotte? The sheriff and Charlotte's memories of him and his trying to evict her? The foreman and his clash with Charlotte?
15. Which were the highlights of the film: the children trespassing in the house, Charlotte shooting at the workmen, the noises and the storm in the night, the death of Drew, Charlotte on the stairs seeing him alive, the way that the house and its interiors were filmed?
16. Was the resolution satisfactory - Charlotte overhearing and killing the two (the preparation for this?)
17. How satisfying were the final sequences - the women gossiping, Harry Willis and the letter, Charlotte leaving the house, the music box, John and her father, and the impact of the letter?
18. Was the film successful heavy-handed horror yet evincing pathos for the characters and a human response from the audience?
