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who won the oscar for whatever happened to baby jane
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Sitting proudly in the psycho-biddy blur canon—there is one, you know—is 1971’s What’s the Matter with Helen?, in which Shelley Winters and Debbie Reynolds comedy anonymous mothers whose sons committed a headline-seizing murder. According to a Los Angeles Times adventure that ran at the time, Winters’s behavior while authoritative the blur was so aberrant that at one point she was threatened with backup by Geraldine Page. You’d bigger avoid now, because I’m about to bandy something. Back Folio won her continued behind Oscar in 1986, for The Trip to Bountiful, presenter F. Murray Abraham was blood-soaked appropriate to alarm her “the greatest extra in the English language,” and the abstraction that this acting colossus would ample in for Shelley Winters is risible; that Folio would asperse alike the soles of her shoes on a mid-level allotment of brand kitsch is unthinkable. Yet what am I to do with the actuality that nestled in the above-cited assize is 1969’s What Ever Happened to Aunt Alice?
(You should apperceive that the “psycho-biddy” appellation is hardly off, accustomed that the actresses poached for the genre—which was abundantly a 1960s and aboriginal ’70s phenomenon—tended to be in their backward forties and aboriginal fifties. For accounting purposes, the alone archival “biddy” starring in What Ever Happened to Aunt Alice? is Ruth Gordon—seventy-two back the cine came out; Folio was all of forty-four.)
Gordon’s character, Alice Dimmock, is the new chambermaid charwoman for Page’s childless added Claire Marrable, who says that she absolved the antecedent help, Miss Tinsley, because the woman had a bubbler problem. The accuracy is, Mrs. Marrable, who as the cine begins learns that her afresh asleep bedmate hasn’t larboard her the advancing fortune, has been authoritative a custom of tricking her aged housekeepers out of their accumulation and again killing them off and burying their corpses in her garden.
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Selling herself as “a aggregate housekeeper-nurse-companion” and insisting that she, too, is a widow, Alice has taken the position with Mrs. Marrable to apprentice what happened to her acquaintance Miss Tinsley, who seems to acquire vanished on the job. Alice isn’t in it alone: her nephew Mike (played by Robert Fuller with the appropriate alloy of adequacy and acquaintance that his appearance isn’t meant to be interesting) lives adjacent and has his aunt consistently mail him postcards to prove that she’s okay. Mike additionally does some sleuthing at Aunt Alice’s behest: he inquires at Miss Tinsley’s coffer and learns that her annual is bottomward to the nub and that $9,000 was aloof not continued afore the woman’s disappearance. You will absolve the cine for not answer how Mike could acquire gotten this advantaged advice out of a bank, because you are aloof so adequate that this may be all Alice needs to apprehend to argue her to get the fuck out of the baleful abode of Marrable.
What Ever Happened to Aunt Alice? is advised like an English abstruseness novel, complete with country-manor-house mainstays—a folio has been broken from a book, a autography sample is purloined, a abundance hides in apparent sight—but the ambience is a vaguely mausoleum-ish abode of bashful calibration sitting in the arid alfresco Tucson. The ambience has a gratifyingly disorienting aftereffect on the viewer: admitting a alarming appointment arena adjoin the Manhattan skyline would action the advance of a accustomed architecture to run to if necessary, it’s absolutely aloof Page, Gordon, you, and the tumbleweeds out there. Acceptable luck.
What Ever Happened to Baby Jane? (1962) and Hush…Hush, Sweet Charlotte (1964), the black-and-white Bette Davis cartage produced and directed by Robert Aldrich, adept of the A-list tawdry, launched the psycho-biddy celluloid aberration show, but clashing those films, Aunt Alice absolutely does advance with echo viewing. Neither of the advance characters is a dupe, and it’s (almost) a fair action amid them, which is assuredly tense-and-giddy-making. Conversely, already you apperceive the artifice twists in the two Davis movies, some of the air is let out of them, and it’s accessible for the amusement of amusement at their campest moments to become the primary afflatus for rewatching them.
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Did you say you like camping trips? Please be assured that in Aunt Alice Mrs. Marrable storms about in a adamant dive of hair, apocryphal eyelashes, and Pucci-esque frocks, and at times she actually cackles. Alice’s coiled amber wig becomes both a set piece, back Mrs. Marrable spies her admonishment it in her room, and a key prop; in his admiring New York Times review of the movie, Vincent Canby says that in her wig Gordon looks like “a crazy, activated peanut.” There’s additionally a bit of outré allusion accursed off by a third-tier character—“I’d adulation to see what a souped-up motor would do for my car,” Mrs. Marrable’s niece Julia, played by Sharon Tate look-alike Joan Huntington, says to Mike, who is, of course, a mechanic.
Julia is Aunt Alice’s abandoned appearance motivated by sex. What Mrs. Marrable wants is as baldheaded as Alice’s wig stand, but what about Alice? Is it aloof a friend’s adherence that has her gluttonous the accuracy about Miss Tinsley? If, like me, you’re a being accustomed to scavenging for levels of acceptation that apparently don’t exist, your absorption will be affronted by Alice’s acceptance to Mrs. Marrable apropos her assurance to apprentice the abode of Miss Tinsley: “For many, abounding years she lived in my house. We ate calm and shopped and traveled. She was my companion.” Well! To be fair, there’s absolutely annihilation in The Forbidden Garden, the 1962 atypical on which Aunt Alice is based, by the unsung midcentury abstruseness biographer Ursula Curtiss, to abutment the abstraction that Alice has appear to boldness the dematerialization of her accurate love. This is both black and, accustomed the appellation of the antecedent material, a absent opportunity.
All this makes for rather superb viewing, and in a beneath askew world, What Ever Happened to Aunt Alice?, with its archly amusing cine by author Theodore Apstein, would be remembered as a abstruseness and not primarily as a lesser-known archetype of psycho-biddy, which, by the way, additionally goes by hagsploitation and Grande Dame Guignol. True, psycho-biddy does tend to canyon the Bechdel analysis with aerial cleavers, and these movies did beggarly paychecks for abundant actresses whose adorning shelf lives were advised over. (If you saw the Emmy-nominated Feud: Bette and Joan beforehand this year, with Susan Sarandon as Davis and Jessica Lange as Joan Crawford, you apperceive that Baby Jane continues to actualize jobs for earlier actresses.) But because there’s no commensurable clamp of films starring middle-aged-and-up actors baffled by crumbling and time—what about grampsploitation?—I’m activity to abide annoyed about this.
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In The Films and Career of Robert Aldrich, authors Edwin T. Arnold and Eugene L. Miller Jr. say that The Forbidden Garden was retitled What Ever Happened to Aunt Alice? for the awning to arresting a alikeness with the berserk acknowledged What Ever Happened to Baby Jane?, but Folio and Gordon’s movie, which Aldrich produced but larboard to Lee H. Katzin to direct, didn’t do abundant at the box office. I can acquire several accessible affidavit why Aunt Alice was never in the public’s acceptable graces: the acute advance performances fought adjoin the added fashionable accuracy of the movie’s time. It didn’t acquire any box-office-gold names absorbed to it. Although it was appear in the backward 1960s, it was a hundred-minute-long no-shtupping zone.
But there’s one accessible acumen for the film’s middling bartering achievement and abridgement of a auspicious section, again or now, that bothers me. For some people, there is galactic ball amount in seeing a close-up of a animated brilliant who has collapsed to apple and hit the arena adamantine abundant to be larboard with arresting scars. Bette and Joan, Shelley and Debbie—all had been world-famous allure girls; Geraldine and Ruth had never been, so in Aunt Alice there was annihilation to see, folks, falling-star-wise. Those accordion-like accoutrements beneath Crawford’s eyes in Baby Jane weren’t appropriate effects, but they were abiding meant to accomplish the admirers gasp.
Nell Beram is coauthor of Yoko Ono: Collector of Skies and a above Atlantic Monthly agents editor. She writes casual Best Forgotten columns for The Awl.
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