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Hush ... Hush, Sweet Charlotte
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Directed by Robert Aldrich
An unusually long pre-credits sequence establishes the roots of faded Southern belle Charlotte's (Bette Davis) insanity; she'd been witness to the dismemberment murder of her fiance (Bruce Dern) and the suicide of the murderer, her own father (Victor Buono). Years later, Charlotte remains a recluse in her decaying southern mansion, zealously guarding the secret of her father's guilt; she is cared for by her slatternly housekeeper (Agnes Moorehead). When her house is targeted for demolition, Charlotte fears that this will uncover her lover's body parts and thus confirm that her father was a murderer. She desperately summons her seemingly sweet-tempered cousin Miriam (Olivia de Havilland) to help her fight off the house's destruction. Miriam brings along the family doctor (Joseph Cotten) to calm Charlotte's frayed nerves. When Charlotte begins to be plagued by horrific visions of the homicide/suicide of so long ago, it appears that she has gone completely insane. But soon we learn who is behind these delusions...and why. Hush Hush Sweet Charlotte was intended by director Robert Aldrich as a follow-up to the successful Joan Crawford/Bette Davis horror piece Whatever Happened to Baby Jane (1962). Ms. Crawford was originally slated to play Miriam, but became seriously ill shortly before filming started. Davis, who disliked Crawford intensely, suggested that the role of Miriam be filled by her best friend, De Havilland. On the first day of shooting, Davis and DeHavilland pulled a "Ding Dong the Witch is Dead" routine by toasting one another with Coca-Cola--a catty observation of the fact that Joan Crawford's husband was an executive with the Pepsi Cola company! ~ Hal Erickson, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
No one can rightfully claim that Hush . . . Hush Sweet Charlotte is dull. The unrestrained acting performances alone -- or the caricatures that substitute for acting performances here -- are just too much fun to watch. This is the kind of film, in fact, where Agnes Moorehead makes Bette Davis appear downright restrained in comparison. Or where Joseph Cotten and Mary Astor's mint julep accents flow as thick and gooey as molasses. Hush . . . Hush, which owes a great deal to the French classic Diabolique (1954), does cheat the viewer on occasion but Robert Aldrich's direction is so over the top that few will probably question a scene where a murdered Cotten -- well, that may be giving too much away. Suffice it to say, the story doesn't quite make sense but what other movie would dare chop off Bruce Dern's head even before the opening credits? ~ Hans J. Wollstein, All Movie Guide
 

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