A wickedly good script and inspired casting, bring screen queens Bette Davis and Joan Crawford together for a bit of sadomasochistic fun, in this slice of camp Hollywood gothic horror which revitalized the careers of both. The Hudson sisters are aging actresses who live in a rotting Los Angeles mansion. Baby Jane Hudson (Davis) was a cute little girl who gained popularity from the public with her singing, dancing, and cute looks. In a way, reminiscent of someone such as a Shirly Temple.





Baby Jane had been a spoiled brat vaudeville headliner, but as she grew older her career faded. Blanche (Crawford) lived in her shadow as a girl but had an enormously successful adult career as a screen glamour girl. Years later when Jane grows up, it is her sister, Blanche Hudson, that is gaining the fame with her roles in movies. A spoiled brat ever since childhood, Jane resents her sister's popularity, which is the source for her deep hatred for her.

"It was that nosey Mrs. Bates going on about your picture last night. Oh really, did she like it?!... She liked it!"


After, a mysterious career-ending car accident that Jane was found responsible for, Blanche is left paralyzed in a wheelchair, with no other option but to rely on Jane to take care of her. But she was unable to help Jane realize a film career, due to her sister's drinking and eccentric behavior. Years pass with the two of them living together in mutual enmity, tended to by their maid, Elvira. When Jane learns that her is planning to sell the mansion and put her in a sanitarium, she begins a systematic campaign terrorism and torture against her wheelchair-bound sister.

"You wouldn't be able to do these awful things to me if I weren't still in this chair! But ya are Blanche... ya are in that chair!!"


Meanwhile, she enlists the service of Edwin Flagg (Victor Buono), a young pianist who she hopes will help her make a comeback. Unfortunately, Jane's plans are foiled by the kind-hearted, but firm maid, who tries to intervene to save the tortured Blanche. Elvira gets her head bashed in with a hammer for her trouble. Elvira's untimely end, combined with Edwin's realization that his client is one sick puppy, sends Jane to the brink.

"It flew out the window!"


The film culminates with Jane packing up Blanche, who is now near death from malnutrition, and taking a little trip to the beach like they used to when they were children. At the beach, Blanche reveals a long kept secret that puts a new spin on the motivations that brought them to where they are at this point. The realization that "all this time they could have been friends", sends Jane gleefully dancing on the sand, holding two strawberry ice cream cones, performing as 'Baby Jane' once again for the (bewildered) onlookers.

"Oh Blanche... Ya know we have rats in the cellar?!"


This well made movie consisted of superb acting and a great deal of suspense. Davis plays her role superbly, making us realize the evil of her character. The power of this movie is presented through Jane's relentless hostile treatment towards her sister. However, because Blanche is helpless, she is at the mercy of Jane throughout the movie. Blanche's repeated brave, but friutless attempts to escape, keeps the pace and the tension at a high pitch.





The screenplay, by Lukas Heller, was based on the novel by Henry Farrell, who also authored the novel Hush... Hush, Sweet Charlotte. Aldrich had his hands full balancing the overblown but sensitive egos of the rival actresses. If full-scale battle never erupted, it is still correct to say that battle lines were constantly being drawn. The original choice to star with Davis was Tallulah Bankhead when the property began floating around Hollywood, but Crawford acquired rights to the property, and offered it to Davis.

Davis commanded a larger salary, with Crawford negotiating a larger percentage of the gross. It was interesting that Crawford allowed Davis such a juicy role that was almost certain to eclipse her own. Perhaps it was because she could never allow herself to portray such grotesque character. Being the consummate "Movie Star", Crawford probably admired Davis tremendously for her natural talent as a film actress. Some felt this admiration bordered on obsession, and that Davis was very blatant in her disregard towards Crawford's "gestures of good will".

They both publicly denied any rivalary between them, with Davis claiming they were "two dames just doing a job." Off the record, of course, Davis was known to use the term "That phoney bitch!" when referring to her nemesis. Reportedly Davis did require multiple takes of the scene when Jane rips the buzzer out of the wall and slaps Jane viciously across the face. Contact was made "accidently," with some considerable force, but Crawford was unflinching. She was not about to let Davis intimidate her, and perhaps any type of contact may have been considered a good thing, by Crawford. At least an acknowledgment of her existence during the whole proceedings.

Crawford supposedly retaliated by using rigging weights under her robe for a scene where Davis had to drag her, and Davis hurt her back. Crawford shared a private joke on Davis by sending hairdresser Peggy Shannon to MGM to secure her old blonde wig from Ice Follies Of 1939 for Davis to wear.Davis bitched to Aldrich about Crawford's drinking on the set. Crawford also insulted Davis's daughter, B.D., who appeared in the film. B.D. joined her mother on tour to promote the picture.





Another blow to Crawford's ego was dealt with Davis' nomination for Best Actress by The Academy in 1962. Davis was very vocal in later years about her feelings that she was robbed of the Oscar for her performance in Baby Jane (Anne Bancroft won for The miracle Worker). She claimed that Crawford actively campaigned against her due her unhappiness that she was unable to secure a nomination.