The working-class twin sister of a callous, wealthy woman impulsively murders her out of revenge and assumes her identity. But impersonating her dead twin is more complicated and risky than she anticipated.
Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As ... See full summary »
Aged, wealthy Charlotte Hollis has lived as a recluse in the crumbling family plantation mansion in Hollisport, Louisiana since her father Sam Hollis' death thirty-six years ago. The only people who regularly see her are her hard-as-nails but seemingly loyal housekeeper, Velma Crowther, and her longtime friend and physician, Dr. Drew Bayliss. She has lived there most of her life except for a short stint in London thirty-seven years ago following the vicious murder of her married lover, John Mayhew, at the plantation's summer house while Sam was hosting one of his legendary grand balls in the mansion. She and John had planned to run off together that night, but instead he was bludgeoned to death, his head and right hand severed from his body. Nobody was ever convicted for his murder, but most people believe Charlotte did it after John changed his mind about running off with her. They also believe that Charlotte, whom they haven't seen in years, is a crazy old woman. Conversely, ...Written by
When Miriam Deering (Olivia de Havilland) is preparing to close up the house in anticipation of moving out, she is packing a box which is stenciled "Sam Strangis Storage & Transfer, Baton Rouge, LA.". Sam Strangis was the Assistant Director on this movie. See more »
When Charlotte becomes irate and chases the packers from the house, the camera follows them fleeing from room to room. For a split second, a shadow of the camera or dolly is visible on the near wall as it moves from right to left. See more »
"Hush...Hush, Sweet Charlotte" is after all is said and done really a rather sweetly sad movie. The lurid opening with it's bloody murder sequence is only a set-up and a tease: nothing remotely like it occurs for the remainder of the film. (By today's "Scream" standards, of course, this sequence is tepid.) The value of watching this movie, as many (maybe most) people will comment, is the dialog and the performances. Two of the supporting character performances are remarkable, for two entirely different reasons. Agnes Morehead was roundly praised in 1964 for her performance in this movie, and even got an Academy Award nomination. It was, however, a completely misguided conceptualization that comes across as a racist "Amos and Andy" burlesque sketch. The other performance is by Mary Astor as Jewel Mayhew. This was Mary Astor's last performance in a movie, and in her big scene with the actor Cecil Kellaway she is Oscar-worthy. With over-the-top performances in no short supply in this picture, it is understandable that Astor's marvel of delicacy and restraint hardly ever gets a mention.
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