This film was meant to be a kind of sequel to "Whatever Happened to Baby Jane?". However, this film is missing the dynamic of those dueling actresses, Joan Crawford and Bette Davis, present in the first film. Instead we have the perennial sweet thing of the golden age of Hollywood, Olivia de Havilland, playing opposite to Bette Davis. Plus Olivia and Bette were always friendly in spite of both being very ambitious at the same time and the same place - Warner Brothers of the 1930s and 40s.

As a teenager Charlotte Hollis (Bette Davis) was presumed guilty of killing her married lover. And no wonder, she wanders into the family mansion during a society ball the night the man was killed covered in blood and in shock. Her wealthy father managed to fix it so she never faced charges, but Charlotte has lived as a recluse ever since, always presumed guilty by her neighbors and the press, and therefore shunned for the past 37 years.

She is facing eviction from the family plantation since her property is in the path of a new road that is being built. Her cousin Miriam Deering (Olivia de Havilland) comes to visit during this time to try and get her to come to terms with moving. With Mary Astor as Jewel Mayhew, the widow of the murdered man, and Agnes Moorhead as the housekeeper.

Charlotte's problem besides being evicted? She has been receiving anonymous mail for years tormenting her about the killing and she is starting to see things that are not there. Or are they?

I actually liked this film better than "Baby Jane" because I always felt that film was too long and too claustrophobic. Plus for once I liked the production code ending, the twist at the end, and justice like it was out of a Looney Tunes cartoon.

I really like this movie a lot. It was intended as a follow-up picture to What Ever Happened To Baby Jane? And is definitely the less famous of the two movies. However, despite Bette Davis starring in each, Olivia de Havilland takes the role originally intended for Joan Crawford. Why Crawford was dropped makes for a very interesting story, by the way. You can read about it in any of the biographies about Ms. Davis (apart from the whitewash autobiography she wrote).

Davis, who plays Charlotte, has been assumed to be a killer 40 years earlier, though this had never been proved. Now, when her friend Miriam (de Havilland) comes to visit, it seems that Charlotte is really falling off the deep end into madness!! Watch the movie--it's full of great acting and interesting twists and turns! It's a lot more subtle than WHAT EVER HAPPENED TO BABY JANE? And perhaps that is why I prefer it of the two movies.

On my first viewing of 'Hush, Hush, Sweet Charlotte' a few years back, it did strike me as a very good film if not quite masterpiece level. Decided to see it again to see whether my positive memories of it would hold up. Being somebody that loves many of the actors involved, especially Bette Davis, and who has liked to loved most of what has been seen of Robert Aldrich's work ('The Grissom Gang' being the only exception),especially 'Whatever Happened to Baby Jane' and 'Attack'.

The good news is that my positive initial feelings of 'Hush, Hush, Sweet Charlotte' on my long overdue recent re-watch are not just unchanged (so still feel very positively about it),my basic thoughts on the film's many strengths and not near as many flaws are also pretty much exactly the same. Actually appreciated 'Hush, Hush, Sweet Charlotte's' many good things even more this time round. Most of the cast give some of their best performances and as far as Aldrich's films go, it is towards the better end.

My biggest criticism of 'Hush, Hush, Sweet Charlotte' is the overlong length, it could easily have been just over an hour and a half which would have been achieved if some of the middle was tightened up in the pace or trimmed.

Some of the middle's writing falls into the unintentional camp territory, which is a shame as much of the film is genuinely atmospheric and unnerving.

On the other hand, no fault can be had with the cast. Davis is very over-the-top, especially some of her line delivery, but thrillingly and chillingly so. Over-the-top is not always a good thing, but it proved to be a lot of fun here with Davis as it did suit the character perfectly and it was the type of role that she did better than most at this point. Olivia De Havilland is a lot more restrained but just as monstrous and effectively unsympathetic, very different type of role for her and one she initially had reservations about. Agnes Moorehead is delicious fun and suitably beastly and Mary Astor gives a heartfelt and nuanced performance, making a big impression in short screen time. Aldrich directs with a lot of tension and atmosphere, especially in the early stages with for example the shocking murder. The characters may not be subtle but they are interesting.

'Hush, Hush, Sweet Charlotte' looks wonderful. The cinematography is hauntingly exquisite, with some creative shots (without being gimmicky) in the more horror-oriented moments, and the Gothic production design is hugely atmospheric. The music does nothing to detract from the creepiness, not resorting to over-obvious music cues, and the title song is memorable and is a beautiful song on its own. Some of the script is on the camp side and it is unashamedly melodramatic, but it is also quite intelligent and very Tennessee Williams-like (that's a compliment). The story has a flawed mid section, but it starts off brilliantly and one scene in particular in the early stages stays with one for a long time after. The final twenty minutes are also genuinely shocking. There is a genuine creepiness to the horror-like elements, the build ups biting the nails, while the mystery side intrigues.

In summary, very well done. 8/10