Oscar Horrors: Hush Hush Campy Agnes

[Editors Note: For today's episode of Oscar Horrors, I invited award-winning writer Manuel Muñoz ("What You See in the Dark" "The Faith Healer of Olive Avenue") to join us. I've gave all the contributors a list of every Oscar nomination from the horror genre and they chose their own subjects. -Nathaniel R.]

Here Lies... Agnes Moorehead in Hush...Hush, Sweet Charlotte (1964)

Hush…Hush, Sweet Charlotte is either Grand Guignol catnip or the most ridiculous Scooby Doo plot ever, depending on your level of generosity.  The film lacks the sustained camp thrills of its kissing cousins What Ever Happened to Baby Jane? and Strait-Jacket.  But it remains obligatory viewing, whether to fulfill your quota of the era’s is-she-crazy suspense vehicles starring Hollywood’s aging belles, or to check out Oscar offerings with peculiarly high nomination counts.  Charlotte picked up seven (yes, seven) Oscar nods and while you might shrug off most of them as applause for technical show, a major Supporting Actress bid (and maybe an almost-win) came with the fourth and final invite to the big dance for Agnes Moorehead as 

But first, the tawdry beginnings.  Set on a once sunny Louisiana estate in 1927, the film introduces us to a young Charlotte, whose father doesn’t approve of the news he’s heard from her secret suitor.  At an elaborate party (and in one of the most nimbly arranged sequences of the film), things get downright bloody, and Charlotte emerges from the shadows with one of the most conspicuously stained dresses ever to stun a crowd.

Fast forward decades later, and our fun begins. 

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All This, and Linking Too

Matt Patches gives us the best news of the day for New Yorkers. The Alamo Drafthouse is coming.
Lists of Note Preston Sturges "11 rules of box office appeal" Tee hee.
Cinema Blend new details on Matt Damon's Promised Land. It involves fracking.
Scanners a wonderful interview with Bette Davis circa 1988. She would have turned 104 this weekend.

Pajiba the highest grossing female led action films (not adjusted for inflation)
akslkgkdsl 
The Awl unanswered questions about teen movies. Here's a sample:

Say Anything…: How many times did Lloyd use the boombox trick in future relationships, and was his song selection always “In Your Eyes,” or did it change to reflect the current hits?

Tom Shone on the Titanic 3D conversion. I love Tom Shone.

Finally Boy Culture reminded me of this  year old interview with one of my favorite character actresses (and incidentally one of my favorite lesbians) Miriam Margolyes. I love her in everything -- remember how fun she was lusting after The Bening in Being Julia?. She is hilarious and she was totally dissing the Oscars for their big stars in supporting categories problem.

It was a very good film called The Age of Innocence and I was marvelous in it. I was! The reason I wasn't nominated was because of WINONA RYDER AND I DON'T LIKE HER! What happened was she was nominated as a supporting actress instead being nominated as a leading actress. If she'd jolly well kept herself to herself and been a leading actress, they would have nominated me as supporting. I was livid."

Oscar Horrors: I've Written a Letter to Bette

HERE LIES... Bette Davis's Best Actress nomination for What Ever Happened to Baby Jane?, sent to an early grave by Anne Bancroft's more Oscar-friendly work in The Miracle Worker. 

Andreas from Pussy Goes Grrr here. In 1962, Bette Davis had a good three decades of acting ahead of her—what endurance!—but her disturbing, self-deprecating performance as Baby Jane Hudson sure feels like a go-for-broke swan song. It builds on all her tics and trademarks (bitchiness, powerful voice, melodramatic intensity) and exaggerates them almost beyond recognition. Following in the footsteps of Norma Desmond, Baby Jane's a quintessential star-as-monster. Try as you might, you just can't look away.

Granted, Joan Crawford does co-star as Baby Jane's paraplegic sister Blanche. But this is unmistakably Bette's show all the way: she dominates every second of screen time, whether by snarling and squawking with an alcohol-induced slur, or through a mere flutter of her eyelashes. She plays the role broader than broad with gargoyle makeup and coarse body language, often standing akimbo like a pissed-off teenager. But she leaves space for smaller gestures, like the sudden, wicked curling of her lips, that give us a vision of Baby Jane's sick, sad inner life.

Because she's not all monstrous. If only she was, she'd be so much easier to watch. Instead Bette plays her with a nagging core of pathos, of innocence lost. Occasionally her underlying tragedy (and implicit Electra complex) breach the surface, like when she sings her old vaudeville hit "I've Written a Letter to Daddy." It's the film's great can't-look-away set-piece, a pitiful song and dance rooted in Baby Jane's hideous regression to childhood, and Bette performs the hell out of it. No shame, no holding back, nothing but raw chutzpah.

Egged on by Victor Buono's ghoulish pianist, she hoarsely belts out the mawkish melody, and the resulting incongruity is a nauseating mix of horror and morbid comedy. It's a boozy, psychotic siren song that, to their credit, the Academy's members were unable to resist. It's an artifact of poisoned camp, a sour recapitulation of Bette's Hollywood career, and an indelible piece of horror history.

And if you want a real surprise, watch Baby Jane back to back with Bette's foray into Hammer horror, The Nanny. There, she's equally chilling, but all of Baby Jane's grand flourishes have been replaced with stoicism and restraint. It's black-and-white proof that Bette's performances didn't just have magnitude; they had range.

Previously on Oscar Horrors
The Fly, Death Becomes Her, The Exorcist, The Birds, Carrie and more....
Top 100 Most Memorable Best Actress "Characters" 

Last Minute Oscar Linkage

Serious Film 3 wishes for the ceremony aside from wins
Wild Lines roots for a movie they weren't rooting for. "I take it all back" interesting post
<--- James Franco Oscar Morning footage. Adorable.
THR six things to watch for tonight.
Wesley Morris if you suffer for your art (Natalie Portman) you end up celebrated for it. In depth piece about the perceptions of screen acting changing. Liz Taylor, today's birthday girl, even gets a casaul shout out.
NPR good informative listen as Andy Trudeau runs down the nominees for Best Score. Did you know that How To Train Your Dragon uses a penny whistle and a dulcimer at the same time in its score? I did not.
Bohemea Best thing about the Spirit Awards? John Hawkes and Dale Dickey (Winter's Bone)
IndieWire Melissa Leo has a breast tattoo. #thingswedidntknow
Sunset Gun "Bette Davis Defines... Oscar" Love this.

And if you're just tuning in, YES, we will be live-blogging the Oscars tonight. See you at 6 PM EST. It's also the last couple hours to vote on the readers choice "should" wins so get clicking through the categories.