Grande Dame Guignol

Willie Oleson

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An elegant thriller with a few elements that reminded me of Michael Douglas' THE GAME.
Co-starring Knots Landing's Rusty Daniels.
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In this day and age, surprising plot twists have become a "must" and yet I had no idea where this movie was going. Of course I did expect Norman's "death" to be part of a prank, but it wasn't exactly that.
Simone Signoret was great as the most sinister element in this story, and Katharine Ross looked absolutely gorgeous. Not too mention that fabulous little elevator!
 

Willie Oleson

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Are we still watching them?

No shortage of hags...or John Savage's skin.
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It's always fun to explore some brilliance in these type of B-movies. Granted, it's early 1970s, and in those days when talent seemed to be the rule rather than the exception it's almost impossible to get it wrong. The atmospheric music and imagery is the standard, but this movie offers some real creepiness too. And a sexually frustrated neighbour with a bitchy father.

Are you a good boy, Terry? Give mommy a kiss.

And then that final snapshot.
Hatred, Beauty. Destruction. Sadness.
 

Alexis

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Are we still watching them?

No shortage of hags...or John Savage's skin.
View attachment 21187

It's always fun to explore some brilliance in these type of B-movies. Granted, it's early 1970s, and in those days when talent seemed to be the rule rather than the exception it's almost impossible to get it wrong. The atmospheric music and imagery is the standard, but this movie offers some real creepiness too. And a sexually frustrated neighbour with a bitchy father.

Are you a good boy, Terry? Give mommy a kiss.

And then that final snapshot.
Hatred, Beauty. Destruction. Sadness.
It's directed by Curtis Harrington who directed and was a cinematographer on DYNASTY!
 

Alexis

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Sarandon was good as Bette, but Lange seemed nothing like Crawford...
I agree I found she played her much too openly harsh and bitchy. And as far I have seen Crawford was much too self aware to project that outwardly. Crawford was much more interested in projecting an image of a classy lady even if it was just a highly polished veneer. Lange didn't capture that at all for me.
 

Snarky Oracle!

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I agree I found she played her much too openly harsh and bitchy. And as far I have seen Crawford was much too self aware to project that outwardly. Crawford was much more interested in projecting an image of a classy lady even if it was just a highly polished veneer. Lange didn't capture that at all for me.
Plus, her look didn't work, either.
 

Crimson

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Sarandon was good as Bette, but Lange seemed nothing like Crawford...

Yes. When the casting was announced, I was very skeptical of Sarandon but thought Lange would be great. Other than being prettier than Davis ever was, Sarandon was remarkable in the role.

Lange, unfortunately, didn't really work as Crawford. A performance like this has to exist on two planes: the impersonation and the acting (i.e., portrayal of emotion, etc). Dunaway did a remarkable impersonation of Crawford but her acting was atrocious. Lange didn't get the impersonation at all; she neither looked nor sounded much like Joan. I give Jessica credit for 'aging' naturally, but she looked too old to play Joan in most of the series. The writing for Joan was kind of sketchy, with an apparent effort to balance what Joan was probably really like, with an exaggerated sense of propriety and manners, and the post-MOMMIE DEAREST image of Joan as a raging bitch. With that, I think Jessica was able to at least carve out a version of Joan that semi-redeemed the damage MOMMIE DEAREST* did to Joan's image.

But then FEUD, while fun to watch, was a whole lot of fiction built onto a questionable premise.

*The movie. The damage done to Joan's image from the book was probably warranted, but the movie is junky, sensationalized fiction.
 

ClassyCo

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I thought that Susan Sarandon's performance as Bette Davis was outstanding. Not only did she seem to have the mannerisms and the voice down to the closest "T", she seemed like she had done her homework on Bette overall. Jessica Lange, while a very good actress in her own right, played Joan Crawford much too hard on the surface. Like the rest of you have said, I seriously doubt Joan was the type of woman to outwardly project her distaste for someone or a particular situation. She seems like the one to present a lady to the public, but yet pulls out her claws when the lights were out. She was sneaky. Bette, however, seemed more confrontational. She didn't mind showing her bad side to anyone. They got that part right.

What's interesting about Feud: Bette and Joan is that the producers clearly seemed to have more fun writing for Davis. Sarandon definitely had the juicier role, while Lange was stuck with a rather cartoony Crawford caricature that never really developed. They gave Davis some depth, but Crawford was kept relatively shallow and petty. What's funny about this, or at least to me, is Crawford often complained how Davis got the better role in Baby Jane, and now in 2017, Davis is still getting the better part in a reenactment miniseries that is cluttered with possible heresay and fandom theory.
 

Snarky Oracle!

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I thought that Susan Sarandon's performance as Bette Davis was outstanding. Not only did she seem to have the mannerisms and the voice down to the closest "T", she seemed like she had done her homework on Bette overall. Jessica Lange, while a very good actress in her own right, played Joan Crawford much too hard on the surface. .

What's interesting about Feud: Bette and Joan is that the producers clearly seemed to have more fun writing for Davis. Sarandon definitely had the juicier role, while Lange was stuck with a rather cartoony Crawford caricature that never really developed. They gave Davis some depth, but Crawford was kept relatively shallow and petty. What's funny about this, or at least to me, is Crawford often complained how Davis got the better role in Baby Jane, and now in 2017, Davis is still getting the better part in a reenactment miniseries that is cluttered with possible heresay and fandom theory.
Lange missed the "hornet pitch" of Crawford.

Of course, the Crawford fans are as dark as the object of their fandom -- they all insist that Lange was "brilliant" and "was robbed of the Emmy" and that it was Sarandon who supposedly missed the mark.

So they be all crazy.

Like the rest of you have said, I seriously doubt Joan was the type of woman to outwardly project her distaste for someone or a particular situation.
Oh, Joan had her moments, even publicly, as long as she thought she could get away with it.
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ClassyCo

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Lange missed the "hornet pitch" of Crawford.

Of course, the Crawford fans are as dark as the object of their fandom -- they all insist that Lange was "brilliant" and "was robbed of the Emmy" and that it was Sarandon who supposedly missed the mark.

So they be all crazy.


Oh, Joan had her moments, even publicly, as long as she thought she could get away with it.
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I've always been a big Crawford fan, but even I want spend a whole lot of time defending Lange's work on this show. It's not that I'm saying she's a bad actress, but rather that I'm saying the representation of Crawford was off. It doesn't seem legit. It seems horrendously fabricated and based on rumor, while Bette's portrayal seems somehow more factual.

And yes, I was a little irked that Joan's hair wasn't beehived. She rocked that look for a while there in early 1960s.
 

Snarky Oracle!

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And wouldn't SEANCE ON A WET AFTERNOON (1964, of course) qualify as a hag horror, despite its classy ambience?

It's a terrific little film about an alleged psychic (Kim Stanley, who got at Oscar nod for this role) who convinces her browbeaten hubby (Richard Attenborough, who also produced) to kidnap a child -- in a scene I find very disturbing -- to prove her clairvoyant skills. Bryan Forbes directs and scripts, John Barry provides the haunting score.

It's been called "a ghost story without a ghost" (a common vibe for an early-'60s thriller), with London wrapped in winter's chill.

Stanley is excellent in her narcissistic neurosis (although Katharine Hepburn found her rehearsal style so bizarre that she had Stanley fired off of A DELICATE BALANCE in 1973 and replaced by Kate "Aunt Lil" Reid who is also excellent) and the atmosphere in all its cold war glory is as thick as cinema mood can get.

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ClassyCo

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And wouldn't SEANCE ON A WET AFTERNOON (1964, of course) qualify as a hag horror, despite its classy ambience?

It's a terrific little film about an alleged psychic (Kim Stanley, who got at Oscar nod for this role) who convinces her browbeaten hubby (Richard Attenborough, who also produced) to kidnap a child -- in a scene I find very disturbing -- to prove her clairvoyant skills. Bryan Forbes directs and scripts, John Barry provides the haunting score.

It's been called "a ghost story without a ghost" (a common vibe for an early-'60s thriller), with London wrapped in winter's chill.

Stanley is excellent in her narcissistic neurosis (although Katharine Hepburn found her rehearsal style so bizarre that she had Stanley fired off of A DELICATE BALANCE in 1973 and replaced by Kate "Aunt Lil" Reid who is also excellent) and the atmosphere in all its cold war glory is as thick as cinema mood can get.

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I have never seen Seance on a Wet Afternoon, nor have I ever even heard of it, so I'll give it a look online and see what's up with it.
 

Sarah

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Not sure if it qualifies, but this one stars Stephanie Beacham and scared the living bejesus out of me as a child:

"And Now The Screaming Starts"...

 

ClassyCo

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I have a birthday coming up in October, and I had a wonderful idea. I've gotten my fiancee and her family to buy me the remaining Hagsploitation movies that I'm lacking. I'm aiming to have a binge-a-thon of them around the time of my birthday with a large screen plastered out in the front yard, accompanied with a projector, to give us an spooky old-drive-in-type vibe. I'm very excited about it. As I get these movies, I'll watch them and pop back in here to give you all my two cents.

I can't wait.

Here's some of the titles I'm hopefully going to get:

The Night Walker
Dark Intruder
What Ever Happened to Aunt Alice?
The Nanny
Strait-Jacket
Berserk!
Hush...Hush, Sweet Charlotte
The Caretakers
Night Watch
Lady in a Cage
Die! Die! My Darling!
Maniac
Dead Ringer

There's always a book, entitled Grande Dame Guignol Cinema, authored by Peter Shelley, that I'd really like to get my hands on as well. It would be a wonderful little addition to my shrine of psycho-biddy sub-genre.
 
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ClassyCo

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I've already shared this video in the Bette Davis vs. Joan Crawford thread, but I figured it wouldn't hurt to share it here as well. Be Kind Rewind is, without the slightest doubt, my absolutely favorite YouTube channel. It's the only one that I'm subscribed to that I actually watch the new videos when they pop up on my feed. This lady has done some extensive research on the topics she chooses to make her videos on. They are practically professional-level mini-documentaries that could easily be included as bonus features on DVD and Blu-ray releases, or used for some more in-depth film study.

This particular video that I've linked below pulls the layers back on the feud circling actresses Bette Davis and Joan Crawford. At roughly fifty minutes long, it is basically a documentary about the two women, discussing their individual careers and any possibility of any genuine feud existing between the two of them.

There is often speculation that Davis and Crawford fought over actor Franchot Tone in the mid-thirties. He had costarred with Davis in Dangerous, for which she won her first Oscar, but he was carrying on an off-screen affair with Crawford, whom he later married. Many side with the theory that their feud was initiated over their mutual desire to have Tone. Other than that, it seems their paths did not regularly cross until Crawford left MGM for Warner's in 1943. She took over two roles Davis left out in the wind in Mildred Pierce and Possessed. Some feel Davis was irked that Crawford won her Oscar for Mildred Pierce, a film many feel Davis would not have declined has she realized it was Oscar-worthy material. Outside of this, their paths seldom crossed during their time at Warner's in the latter half of the forties, although some speculate that Davis was somewhat stiffed that while her career with the studio was declining, Crawford's was steady.

Both Davis and Crawford considered the fifties a particularly dry time for them professionally. Crawford's filmography during this era is somewhat stronger than Davis's, but neither of them were making huge landmarks in cinema. It was Crawford that was the force behind their teaming up for What Ever Happened to Baby Jane?, a film riddled with controversy. Apparently there are many documented accounts that filming of the movie went mostly fine. There were a few squabbles, but nothing serious enough that could not be solved through small chats... or so they say. From what exists, it seems that their differences came to the strongest point during the filming of Hush...Hush, Sweet Charlotte. Most Davis biographers agree she never wanted to work with Crawford again, and that her actions towards Joan were deliberately orchestrated to usher Joan out of the picture. Barbara Stanwyck, Loretta Young, Katharine Hepburn, and Vivien Leigh were all tabled as possible replacements for Crawford, but Davis wanted Olivia de Havilland, so that's who got the part.

The whole controversy over the 1963 Academy Awards is where things got really petty. Joan, who was furious that Bette was nominated and she was not, took the opportunity she saw before her to accept on the behalf of either Anne Bancroft or Geraldine Page, both then-starring on Broadway, if either lady were to win. Crawford had also volunteered to announce the Best Director Award at the ceremony, cementing her at least a few minutes on stage. Of course, Bancroft won for her outstanding performance as Annie Sullivan in The Miracle Worker, opening the door for Joan to accept for her. Davis went to her grave believing Joan had steered the votes away from her and over to Bancroft, although this theory can certainly be tested. Newspapers from the era seemed to shift their predictions on who the winner that year would be, and it is unlikely that Crawford was able to sway enough votes among the academy members to make any significant difference in the outcome.

The chapter concerning the Oscars is really the root of the juicy rivalry, or at least in my opinion. It infuriated Bette, and that's why she did everything in power to get Joan off Hush...Hush, Sweet Charlotte. In hindsight, we will never know the entire truth concerning the feud existing between Bette Davis and Joan Crawford, but this video below gives us a very good insight to what most likely is/was the truth of the matter.

 
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