The working class twin sister of a callous wealthy woman impulsively murders her out of revenge and assumes the identity of the dead woman. But impersonating her dead twin is more complicated and risky than she anticipated.
A piano teacher believes that her fiancé, a cellist, was killed on the battlefield. When he returns alive, they marry, but are menaced and threatened by a wealthy, egotistical composer she started dating on the rebound.
Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge and predictable complications result.
Charlotte Hollis, an aging recluse deluded into a state of dementia by horrible memories and hallucinations, lives in a secluded house where, thirty-seven years before, John Mayhew her married lover, was beheaded and mutilated by an unknown assailant. Written by
When Joan Crawford was in Baton Rouge and came to film Miriam's arrival, there was no dialogue involved. Joan was to arrive at the mansion in a cab, exit, carrying a small case, pay the driver, and lowering her sunglasses, look up at the balcony of the house where Bette, in pigtails and a nightgown, was standing in the shadows, holding a shot gun. The scene was designed to be photographed in a wide continuous shot, and, thanks to Crawford's proficient technical skill, it was completed in one take. Later that evening, when publicist Harry Mines called on Bette in her motel bungalow, he found her standing in the middle of the room practicing Joan's scene. "My God!" said Bette. "I've been here all evening long with a pair of dark glasses and some luggage and I'm imagining getting out of a cab and trying to do that whole business in one gesture. How did she do it?" See more »
Disturbed by a noise in the middle of the night, Miriam gets out of bed and puts a revolver in the pocket of her negligee. Shortly after, a wind storm whirls the gown around her head, something that could never occur if there was actually something as heavy as a gun in her pocket. See more »
They don't make 'em like this anymore, and, sad to say, we Americans don't have as many actors and actresses of this caliber anymore today, either. Nevertheless, despite its spotty campiness, unintentional funny moments, borderline flashback sequences, storyline holes and generally predictable plot, this is a spectacular film, especially considering the era in which it was made.
All the performances are strong, intense and excellent. Perhaps the best ones, however, are given by Olivia de Havilland and Agnes Moorehead, who have been more or less associated or stereotyped in other venues. Yes, this is the same Agnes Moorehead who is probably best known as Endora from "Bewitched," but it only serves as testimony that she was one actress who could steal thunder with any role.
Overall, the story is a good one, and realistic to the location given. The story would absolutely not work, for example, in a large urban area. The film is great fun, and knowing how the whole story plays out is an excellent reason to watch it again, as you know what the characters know. Sit back and enjoy the brillant acting on all counts!
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