By Peter Shelley

This severely analytical filmography examines forty five videos that includes "grande dames" in horror settings. Following a heritage of girls in horror ahead of 1962's What Ever occurred to child Jane?, which introduced the "Grande Dame Guignol" subgenre of older ladies featured as morally ambiguous top girls, are all such movies (mostly united states) that got here after that landmark unencumber. The filmographic info comprises forged, staff, reports, synopses, and creation notes, in addition to ordinary motifs and every role's impression at the star's profession.

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Extra info for Grande Dame Guignol Cinema: A History of Hag Horror from Baby Jane to Mother

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Edith’s cackle when she finds a birthday card from Margaret’s lover recalls Baby Jane’s cackle when she served Blanche the rat. When Margaret is called to identify Edith at the morgue, the image of Davis on the slab is perhaps one of the most unflattering shots of a female star in cinema history. Edith forsakes wearing the Margaret make-up in bed as a touch of anti–Hollywood realism, though the scarf she wears over the wig in bed later seems ridiculous, and Henreid shoots Davis in soft-focus close-ups.

Kate humiliates herself by agreeing to model a negligee that Bill buys for Patricia. When they go sailing together, it is Kate who wants to go back when a storm comes up. Patricia insists on staying out for the excitement. After Patricia drowns, Kate then pretends to be Patricia, thinking it her “only chance of happiness,” although such opportunism is out of character for her. Perhaps it is Patricia’s wedding ring that Kate slips off Patricia when she goes under that causes her to become as “mad” as her sister.

And Joan effectively plays the bitch to Bette’s witch.... ”—Time, November 23, 1962. “The main claim to fame of this luridly old-fashioned melodrama is the superbly uninhibited performances by Crawford and (especially) Davis.... ”—Phil Hardy, The Aurum Film Encyclopedia of Horror. Dead Ringer (1964) Warner Bros. Pictures CREDITS: Director: Paul Henried; Producer: William H. Wright; Screenplay: Albert Beich and Oscar Millard, from a story by Rian James; Photography: Ernest Haller; Music: Andre Previn; Art Director: Perry Ferguson; Film Editor: Folmar Blangsted; Sound: Robert B.

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