Hitchcock's "Scary" achieved an unexpectedly great success, and actress Janet Lee shined with stars. Unexpectedly, Li gave up the opportunity to continue to fight in the horror film field and chose to try other types of movies. One is a political thriller "Manchurian Candidate", and the other is a musical comedy "Happy Tonight". However, her liveliness and intelligence still conquered the audience. In fact, Lee's acting career and horror films are really indissoluble. In 1946, she was 18 years old and lived in central California at the time. One day, her portrait was accidentally seen by Nauma Shila, who had just retired here. Sheila's ex-husband is Owen Thalenberg. This person contributed a lot to the development of American horror films. "What a beautiful face," Sheila muttered to herself, looking at the photo frame on the registration desk. Coincidentally, the owner of this hotel happened to be Li's father. He proudly sent the photo to Sheila. Sheila took the photo back to Hollywood and showed it to partner Lou Wieserman. The latter never thought that this pretty little girl would become their cash cow in the future. Similarly, Li did not expect that the female stars of Sheila's contemporaries would be reduced to making horror movies. Mona Law, Bolet Godard, Merle O'Brien, etc. have all participated in horror films in the popular era. But the exquisite products made by these Hollywood star factories know how difficult it is to scream while remaining attractive in the film. "At that time, you have to show charm in everything you do." said Robert Taylor, who had worked with them. "When Nauma Sheila and Joan Crawford played, you looked like a big star." In 1959, Marie Antoinette’s poster in a metal box contained a picture of Sheila. Time resides in that moment. At the age of 37, she appeared to be only over 20 under the lens of photographer William Danio. Sloberg once told the photographer: "I don't care how you set up the lights, as long as the actors look beautiful." Outside the Beverly Hills Villa, it was covered with smoke and the lights were dim. Sheila in the house is 59 years old. She hasn't filmed for at least 18 years. what reason? Just because she knows very well that the illusion of youth created by lighting, filters or angles can only cover up for a while, and one day when she gets older, these auxiliary tools will still be helpless. That day appeared in 1941. At that time, she had vaguely felt that the marks of time were eroding her beautiful close-ups. Only 41 years old, but she knows that the film will not tolerate excessive grooming. She chose to quit the showbiz. "A great actor should leave the audience with laughter and sadness." She said at the time. People did not expect that Sheila would choose to retreat during the peak of her power and career. Her image has been tied with "MGM". The only thing that can keep this image is to leave it on the film. She didn't want to tarnish her image of her grandmother. And her collaborators, except for the rich O'Brien, Godard and Garbo, can hardly bear such extravagant shadows. In the same year, Mona Law was 54 years old and still filming. Betty Davis, 51, was going through the difficult years she later called the "Black Decade". Although not long ago during that period, she still shined in "Comet Beauty". But at this time, he is relying on some character roles, TV shows, and sporadic stage plays to make ends meet. Catherine Hepburn, 52 years old, hasn't filmed for two years. Joan Crawford, 54 years old, recently widowed. Alfred Steele, the husband of the Pepsi-Cola executive, has just passed away, giving her hundreds of thousands of dollars in debt. She had to sell Brandwood's residence and had to work for Pepsi. At the same time, try to take on all kinds of weird roles. A British producer once told her that 3D films might have a box office at the time. "I really don't want to do it anymore," Joan Crawford said. "The strong character made me persevere." She also starred in a guest star in "Cold and Warm", acting with a group of young people. What Billy Wilder's "Sunset Boulevard" said is true. Hollywood really has no interest in passing stars. But this situation will change with the advent of the new horror film cycle. This cycle started with Catherine Hepburn. Producer Sam Spiegel prepares to package Tennessee Williams' drama "Summer Cry" to Columbia, with Elizabeth Taylor starring. At the same time, he also called for Hepburn. The play was completed by Williams in 1957 and became a sensation. He used the role of drug addiction to reflect his own fear and guilt. His greatest fear comes from death due to drug overdose and homosexual promiscuity. His most unforgiving sin was agreeing to his mother to remove the white matter of his sister's forebrain lobe. Twenty years later, he still loves and hates his mother. The result of the playwright's inner struggle and self-examination is the advent of "Summer Cry". The story tells the story of the brain expert Kaklovich, under pressure from the overbearing noblewoman Venabo, performed a white matter removal operation on her niece Catherine. In fact, she was just anxious and not really out of order. The price of the operation is that if the doctor can stop Catherine’s nonsense (she revealed the mystery of the death of Mrs. Venab’s son Sebastian), then the hospital will get a lot of money. Spiegel wants Hepburn to play Mrs. Venabau, but he can't make the lead. This position was to be given to playing daughter Catherine, then the world's number one box office star Elizabeth Taylor. The last time Hepburn condescended to second place was in 1933. Taylor wants her friend Montgomery Clift to play the role of a doctor. Although Clift was in a career low due to alcohol and drugs at the time, he was still as famous as Marlon Brando and Paul Newman. But there is a problem of insurance. If a celebrity may suddenly be unable to perform the contract, big companies will not hire him. Spiegel prepares to insure Clift's health. Clift missed an appointment for the first time. He showed up for the second time, but it was quiet and scary. The doctor murmured, thinking that he might be in deep sleep, and declared that he could not insure him. In desperation, Spiegel still used him. After that, all the crew members flew to London, only the old Fox Spiegel went to the office of the Hayes Code Administration and defrauded the seal of approval from Jeffrey Sherlock, who had no interest in the script of the film. Recalling that episode, Spiegel said, “Sexual perversion or any related suggestion is forbidden,” Sherlock told him that director Joseph Mankiewicz could not make that scene. That is, Catherine revealed that Sebastian has superpowers that can use her and her mother to recruit little boys to engage in sexual games. This episode comes from a flashback of Se, showing that he realizes that he is no longer young and has lost his superpowers. The people he had played with, seeing his current weakness, rallied and punished him in an indescribable way. This film tells the story of a group of demons. Totalitarian mother, cruel homosexual, promiscuous criminal. Sherlock obviously couldn't accept this. Spiegel refused and told Mankiewicz to start shooting. At this time, the director was busy dealing with Clift. Even when he was awake, Clift was making trouble. At a formal dinner, he bit his finger, threw tableware, and babbled loudly. Taylor tried to reassure him, but she was also in trouble herself. A year ago, his third husband McTed died in a plane crash. Always in grief, she just married the married singer Eddie Fisher. Mohidis McKampridge played Taylor's mother in the film. She recalled: "Elizabeth, I always miss McTed. And Miss Hepburn is also worrying about Qu Sai's illness. Director Mankiewicz seems to have skin disease on his hands, so he always wears gloves. You can hardly imagine the screenwriter Vida or Tennessee. Williams would be a particularly happy person. Of course, Clift is being tortured. Everyone related to the film is experiencing their own sufferings, and they show it all." "Summer Horror" in 1959 5 On the 25th, it started at Spieldon’s studio, 55 miles southwest of London. In the middle of summer, the heat waves roll in. In order to drive away the heat and escape the heat, Clift brought his own thermal pot. It's filled with refreshing fruit wine. The screenwriter Edward Ankht took a sip, "What the hell is this?" he asked with a grin. "Bourbon, crushed analgesics, and fresh juice," Clift replied with a smile. Mankiewicz has been indifferent to Clift since the "Dinner" incident. Now, once he trembles, forgets the word, or empties, the director will tell the producer to replace it. Spiegel asked Taylor to talk to Clift. "I tried it and it didn't work." She replied. Hepburn then took the initiative to take care of him. Mankiewicz didn't like Hepburn, but he started to get close to Taylor. "Mankiewicz seems to want to win Elizabeth's favor," Speed said, "but he doesn't respect Catherine." Hepburn believes that the director's open talk about abandoning Clift is too cruel to him. However, personal problems have actually contributed to Taylor's performance in front of the camera. Especially the climax of the monologue: At the end of the ten-minute line, Taylor began to cry. It can be said that the true feelings are revealed. The colleagues present all ran forward to comfort and encourage her. But she stopped her grief, pushed everyone away, and ran into the dressing room alone. One day, after Hepburn finished his performance, he walked up to the director Mankiewicz and asked him, "Are you sure you are finished filming?" and repeated three times. When he confirmed that he did not need to take another shot. Hepburn paused, then jumped up and slapped him. To express dissatisfaction with the director. Leave immediately. The film was officially released on December 22, 1959. This is thanks to Speed. It was he who decided to delete a line, and after a scene, finally settled the bureau. This line is "We hire prostitutes for him." The deleted scene shows two boys with red backs touching each other. This kind of censorship seems to be just a pretentious one, it can't fool anyone. "I guess the youngest audience sitting below can understand what's happening on the screen." Pauling Kerr once wrote. Indeed, they understood, and immediately ran to tell their friends who made this film. A similar situation also occurred in "The Cry", which was one of the best-selling films of 1960. Variety appraisal "Summer Horror" is, "The most weird movie ever made by a major Hollywood company." Suddenly one summer (this sentence is the title of "Summer Horror"), two horrors appeared at once. Film, and there is also a creepy and insane mother in it. Insanity is the main point, and writer Philip Willy can be used as a symbol. He attacked the mother-child relationship that Williams is now describing in the book "The Vicious Generation" published in 1942, which was much talked about. "Oh, Sebastian," Mrs. Venabau said to her son. "What a beautiful summer, it's the two of us. It's always like this. How lucky! To have each other without others. Forever." A thought about a beautiful old woman dominating her aging son, let Willy enter In a kind of exaggerated excitement. "While we recognize American idol beauties (all-beautiful dream girls, glamorous girls), we are insulting women and depriving millions of women of the right to love. To create mother's claws and laugh at the burnt-out residue of youth." "Vicious Generation" has been reprinted more than 20 times, with great influence, but also mixed reputation. In particular, Willy attacked tens of millions of soldiers, saying that they had motherhood and would rather chat with pretty girls than drag them into the bushes. "Then who are they going to pull in? "I created you... demon! "In the straightforward cursing response, the warning that American mothers of healthy men may turn their sons into the next Sebastian is becoming louder and clearer, "I made you, mother, "Willy wrote, "I made it, this devastating mother!" "However, Wiley doesn't have to work hard. The performances of Hollywood's glamorous stars on and off the screen are enough to teach the monsters among Frankenstein. ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ The next horror film, let the past movie queen, return to the screen from the cover of an obsolete publication. In 1961, the ABC’s thriller series was produced. The man, William Frye, found a novel about "What's wrong with Baby Jane." The author is Henry Farrell. The novel is accompanied by Betty Davis and Olivia de Havland, and the director Ida Lou Pino was packaged and recommended to Wiserman. Wiserman refused. Because Davis was very troublesome when filming the "Caravan" series. Director Robert Aldridge heard from his former secretary. Speaking of this novel. Her new boss just bought out the copyright to the book. If Aldridge is interested, he can get it for ten thousand dollars. Aldridge once directed a Joan in 1956 The suspense film "Autumn Leaves" starring Crawford. In the following years, Crawford kept writing to express that she hoped to cooperate with Davis in a film. Perhaps Crawford remembered the film "Whoever Lies". Mary Astor, the supporting actress in the film, not only snatched Davis's play, but also won an Oscar. Davis never wanted to cooperate with any actress who might pose a threat to her. She always alienated her. Lao Fu, and called it "MGM's mannequin. According to Dole Freeman, the press officer of MGM who has known Crawford for 50 years, this hostile relationship has been in existence for a long time. "When Crawford entered Warner forty years, Betty Davis was The big star of this company. She didn't take Crawford seriously at the time. But when Crawford got the statuette, she began to grab roles with him. Just like Thurman Sheila did to Crawford at MGM. As a result, the two became hostile to each other. Despite this, Crawford pleaded with Aldridge. She said that she still wanted to work with Betty Davis, and Aldridge later recalled, "I couldn’t imagine them working together. Then, I saw "Baby Jane". " Aldridge sent the book to Crawford. At the time, she was promoting Pepsi in New York. During this period, the copyright of the book changed. An agent named Stead Beckman bought out the book and handed it to Henry Essex, the screenwriter of "It Comes from Outer Space" for adaptation. Aldrich insisted on the book, and Beckman offered $61,000. Aldridge doesn't have that much money, but his new producer, Josephine E. Levine, is willing to pay him in advance. In the end, Essex got 28,500, Beckman got the rest, and Aldridge got the copyright—almost. Later, when the conflict broke down, Aldridge had to pay Levine $85,000 for the book and the script adapted from the book by him and Lucas Heller. Now, all he had to do was to find two old witches with brooms to perform the play. In January 1962, Betty Davis came to the Royal Opera House on Broadway, preparing to play Maxi in Williams' "Thinking of the Soul". After an evening performance, she sat in the dressing room. No one expected Crawford to show up. She smiled and showed "Baby Jane" to Davis. And respectfully said, "I have always wanted to work with you." Davis didn't like this book, but he reluctantly accepted it, and spent a weekend reading it at her home in Connecticut. "Well, not bad." She recalled the situation. "It's well written. False Jane and crazy Betty." A week later, Davis had lunch with Frye in New York. "It's unbelievable," she said. "Crawford gave me this book with a note saying I hope I will play my sister. I told her it is impossible. I am only interested in baby Jane." Davis later received Aldrich's letter and the script. . The letter said: "If you think this is not the best script you have read, you don't need to contact me." Of course, the two met. "Who am I playing?" Betty asked. "Of course it's Jane," Aldridge replied. "Oh my God, it was just what I wanted!" She paused. Suddenly asked, "Did you sleep with Jane Crawford?" "No," Aldridge smiled slyly. "However, it's not that there is no chance." "I just want to make sure whether you have a preference for anyone." The director started to do things up and down. "Aldrich wanted the company to be interested in me and Crawford," Davis recalled. "Those corporate minds said,' We won't vote for you for these two old women who have passed away. '" The four bosses said no, but Aldrich never gave up. "Three publishers read the script and also looked at the budget," he recalled. "Two of them said, if I use younger Actors, they might be interested. Later, Eliot Heyman called him—this Heyman bought the Warner Bros. Film Archive in 1956. He made a lot of money from the old films of Davis, Bogart, and Crawford, only after two. I opened my own company, Seven Arts in 1988. "I think this script is great," Hyman said, "but the risk is also high, so I have to strictly control the cost. "Aldrich kept the actors he wanted, but had to cut his budget. "Pull my hair from myself and let these two actresses play, plus part of the salary." Crawford will get 40,000 dollars and 10% gross profit of the film. Davis wants to thank her agent, she can get 60,000 dollars and 5% gross profit. Everyone in the film industry wants to know what kind of The film needs such two old stars? The answer is naturally: tell the story between the two old stars! "What happened to Baby Jane?" According to Heller and Aldridge, there should be a history of Hollywood that made bubbles , Sister grievances, mother worship, aging, disability, crime, resentment, hatred, madness, and murder. The Hudson sisters in their fifties live together in a "Spanish-style Hollywood" mansion. The house is not really in Los Angeles. Nor are people. Jane Hudson is a bad-minded alcoholic and has always wanted to relive the time when she became famous as a child star by singing and dancing "Baby Jane". She lives on her old sister Blanche, who was once a beauty but has grown old. Blanche was a movie star in the 1930s before her sister drove her to a disability. He was very rich. Now the two sisters live on the edge of reality connected by hatred. Blanche wants a richer life. But Jane slipped into a mental disorder. When Blanche was about to sell the house and send Jane to the mental hospital, Jane put her in confinement. Terrorized her and refused to feed her. He also used Blanche's money to bribe fat mom. The child, let him write proof that baby Jane is in good spirits. The script may be suitable for many established female stars, such as Marion Law, Rosalind Russell, Norma Sheila, and Miriam Hopkins, and even Greta Garbo and Marlene De Ricky. But they only see it as a psychoanalytic drama, drama or tragedy. And Crawford and Davis have incorporated their previous signature image modeling into them. The evil Davis with protruding eyes once appeared in Wheeler's "Little Fox", and Crawford, tearful of self-dedication, came from "The Demon of Desire." Crawford and Davis created horror by compressing the role beyond life in the small space of this dilapidated old house. Compared with the struggle between the two of them on stage, the torture caused by "Summer Cry" can only be regarded as a tea party. Not only did the two fight fiercely in front of the camera. Previously, there were conflicts with others in the producer's studio on Marrose Avenue. Crawford hopes her makeup will be more feminine, while designer Naoma Koch thinks she shouldn't wear sexy nightgowns or the like, because that would expose her dying leg muscles. It was Crawford’s fitting time, and Aldridge was using a mobile camera to film the makeup process. Script supervisor Bob Gray noticed. "When the camera was facing Crawford's face, she was crying. It seemed that the dress would kill her... Tears flowed down. She is the only person I have ever seen crying during fitting." Koch's design for Davis is very strange. "This is an adult size children's clothing," Koch said. "I lengthened the clothes worn by the child star." According to the script, Jane should bring a wig set based on her childhood curly hair. Davis' hairdresser borrowed a Shirley Temple fluffy hair from Max Fact. But Aldrich didn't like the look. He secretly found Crawford's hair stylist Peggy Shannon. "Peggy, you have worked with many old celebrities at MGM, can you help me?" So, after work stopped that day, Shannon found an old friend of MGM and picked a light silver. Gray wig. When Davis put it on in front of the mirror the next day, she exclaimed: "It's great! I like it!" But no one told her that wig was used by Crawford in the 1930 film "The Shy Bride". "Brought in. During the makeup stage, Davis invented a look similar to Jack Pierce. "She, not me," Aldridge said, "Decide baby Jane's makeup. It's the ugly plaster mask." She was inspired by chatting. "I want to make myself look more hateful. Like a rotten Mary Pickford," she said. Shannon once told her some tidbits about MGM color music films. "They like the look of their face that they never wash," Shannon said. "After some time, you can see them walking across Bray Street." That's what Davis wanted. "Jane doesn't wash her face," she was delighted, "just add a layer of makeup every day." At the same time, Crawford didn't like the one designed for her. Mattie Wismoor was instructed by Aldridge that Blanche should be as scary as Jane. "I made a long line under her eyes," Wismoore said. "The shadow on her face accentuated her cheekbones. She looked upset, as if she had been painted." Finally, she and the director All made concessions, allowing Crawford to start to look more mature and less terrifying at the same time. And she is also preparing to learn from the disabled veterans of World War II, learning how to go to bed on her own from a wheelchair, raise her legs, how to fall forward from the wheelchair, and then roll. The rehearsal ended on July 20, 1962. At that time, Crawford left a famous saying: "After waiting for twenty years, I want to cooperate with Miss Davis. "On the day of the shooting, Crawford came to the shooting scene with her entourage, her personal driver, a young agent from Villimilos, her maid, priest, stylist, and hairdresser. . And Davis is alone. Photographer Ernst Heller has been in Davis’s award-winning films "Danger" and "Vicious Woman", and Crawford's "The Devil in the Sea" Serving as a photographer. In this film, the starring part does not use black cotton for the main light, and there is no diffuser on the lens. "If I use the methods that were popular ten years ago," Heller said, "They will definitely be angry at me. "At lunch, Davis went to the nearby Ruth restaurant without removing her makeup, and then she was surprised that it caused a traffic jam. Crawford told her friends, Loretta Young, Barbara Stanwick and others Said, "You should really look at Betty's makeup in the length of the movie at the time. She walked around in slippers, an old robe, and stains on the collar. "At the end of the day, Crawford walked to her limousine. "The whole entourage followed her," the photographer Philip Stein recalled. "Look at Davis again, walked over the wires on the floor, and went home alone. " A few days later, when Crawford and Davis watched the porn, both of them wept in tears. Crawford turned to Heller and said, "Why do I look so old? It's like an old grandmother is playing my role." "Wiping his nose, Davis came to his spirits. "Jane, if you don't like it, I will play your role and you will play mine." "I won't play her." Crawford curled his lips. "It's all ugly at my grandma's house." When he noticed that Crawford's close-up shots became softer and more numerous, Davis did not continue watching the porn. "There are indeed more close-ups than scripts," the photographer admitted. Later, Crawford began to give Davis red roses every day. Davis ignored her. In this regard, Crawford always responded to "bless you." During the filming, the autobiography of the two were published one after another. When Crawford gave Davis from "Portrait of Jane", she hoped for a copy of "A Life Alone" by Davis. Davis hesitated and didn't write "Dear Jane." Finally, she thought of something, "Jane," she wrote, "Thank you for wanting my autobiography." Crawford began to understand from the side. Davis despised her strongly, Crawford was a little overwhelmed, but she was not entirely innocent. "Everyone covets what others have," said director George Cook. "Jane is jealous of Betty's extraordinary talent, and Betty is jealous of Jane's charming charm." When the filming entered the fourth week, Crawford, who had been ignored by the other party, had a turnaround. Davis came to see Crawford's rehearsal, and suddenly asked, "You really intend to do this?" "Yes, Betty, what's the matter?" Crawford asked back. "Nothing." Davis yawned. Crawford also believes that Davis stole the honor of discovering the material of the novel and that she received preferential treatment from the director. "Betty had to fight against Crawford in everything, although it was within her power, and the way was relatively peaceful." Actress Anna Lee recalled. "She once pinned a note on the door of her dressing room. It said-'In all my relationships Li, I like sex the most (relationship)'-she thought Jane would be scared." Crawford thought Davis treated the actor Victor Bruno too coldly, so she took extra effort to help him improve his close-up expression. Davis sees the wind and tells him immediately that he likes his acting style. Crawford worried that he would look flat-chested in the bedridden paragraph. So she started wearing large fake breasts. "She should have shrunk," Davis observed, "But her breasts are growing, just like the Hollywood Hills." When Crawford asked the director if he could let the crew watch the TV show she was in, Davis sat in the corner of the recording studio. , Sing her baby Jane on the record player. Hope to overshadow the TV sound. On the other day, Davis yelled at the crew and cursed Crawford. The voice was loud and it went straight to the door of her dressing room. Immediately, the door was closed. Crawford called Aldridge that night, "Bob, do you know what Betty did to me?" When the director hung up, Davis called in, "Did Crawford call just now? Phone?" "Mom has to make at least one phone call to Aldridge every night," Davis' daughter, BD Hyman recalled, "She repeatedly mentioned what happened in the studio that day, and the director had to apologize...and promised that the same thing would not happen the next day." The phone seemed to be wound up. "When one rings, another comes in," Aldridge said. "I can only guarantee that, they are like two American armored tanks." Just as Davis's daughter recalled her mother's situation at the time, Aldrich's son often heard midnight calls. "My father had to spend a lot of time coaxing them. But he was never partial. Fortunately, he worked with some great guys at the time, so he managed to deal with them properly. Of course, he himself It’s also great." Sidney Skorsky, a columnist from a veteran, analyzed their different styles, "Treasure is like MGM, and Betty is like Warner. This is a war between two kingdoms and two queens. Two. People are very conceited, energetic and have nowhere to vent." The mental warfare also escalated as the two plunged into this unprecedentedly cruel drama plot (rolling down the stairs, slapped, punched and kicked, until the killing). The constant pressure made Crawford a head cold. She felt a little powerless after filming so many episodes of the fight with Davis. "Can you rest for a few minutes? I feel so tired." "You know, it's been so many years after all. We are all old guys," Davis said. Crawford gave her a feeble look and walked towards her Pepsi machine in the recording studio. "She kicked Pepsi with her heel," Davis said, his voice unusually low. "That bitch is always drinking crazy." If Crawford drinks more than usual, it must be because she is worried about the scene in the filming. Jane kicked Blanche rolling in the music room. Aldridge used several angles to shoot the dummy Blanche being kicked. Davis kicked very hard and looked like he had hurt his foot. When it was Crawford's turn to play, she pulled the director aside. "I dare not," she whispered. "I can't believe in Miss Betty, she will kick me to the ground looking for teeth." Aldrich could only take a few more shots with the dummy. Then carefully directed the rehearsal of the two stars. When the camera was turned on, Davis played very realistically, but did not touch Crawford's head. One foot, two feet...finally spliced together. Crawford screamed and rolled. Then Davis ran away. "She made a big bag on Jane's head," gossip columnist Hedda Haber wrote the next day. There are also unconfirmed trips to the hospital for stitches, but there are no reports of apologies. The last scene requires the crazy baby Jane picked up her dying sister Blanche from the bed and walked out of the bedroom. When they were rehearsing, Davis asked Crawford not to be deliberately dead, which would aggravate her backache. "Actually, there are ways to make it easier for the actors to hug them," Aldridge said. When preparing to start shooting, the atmosphere on the scene seemed extremely tense. "It was a continuous shot," Heller recalled. "Betty picked her up from the bed, crossed the bedroom, and walked out the door." For some reason, Crawford looked heavier at the time. "You should know how hard it was when Betty picked up Jane," Gary said. "Walking all the way to the aisle and out of the camera, she put Jane down, and then let out a scream. That sound is terrifying!" Heller said. "My back! Oh, my goodness! My back!" Under the suspicious gaze of the crew, Crawford got up and slowly slipped into her dressing room. I don't know what she stuffed in the costume, anyway, Davis was unable to move normally for four days. After she came back, the crew moved to the beach to film the dreamy ending. Crawford and Davis never said a word. "I don't think it is too much to say that they hate each other," Aldrich recalled, "but their performance was perfect." He might not realize that his movie created two monsters. The film ends on September 12. Aldridge’s editors worked overtime for a few weeks to get the movie to preview on October 20th in Long Beach. The response from the young audience was unexpectedly strong. They like this movie very much and want to watch it again in the cinema. A few days later, the critics of "Hollywood Citizen News" represented the voice of most people. "For months, it has been circulating in Hollywood that Betty and Jane were reduced to a B-level film. No one thought this film was so great!" Paul V. Buckley of the New York Herald wrote: "If you say Miss Davis If Ms. Crawford’s sloppy shape and naive brain created a hurricane, then Miss Crawford’s shaping of a disabled sister can be described as the eye of a hurricane. It may be abnormally calm, but it is absolutely dangerous and desperate.” Variety praised. A shot in this film. "At that perfect moment, Miss Crawford was facing herself on TV, her face shining, reminiscing about her lost glory." After deducting the expenses of 980,000 for 11 days, "What happened to Baby Jane" finally made a net profit of 3.5 million US dollars. . "It must be said that we are a little bit complacent." Davis said to Jack Parr on tonight's show. In fact, she has more reasons to be complacent, because she was nominated for an Oscar for this film, but Crawford did not. The Queen of Warner hit a mannequin from MGM, or a monster? On Oscars night in 1962, Davis stood in the auditorium waiting for the announcement of the best actress results. She once awarded the best original screenplay award. Crawford also awarded the best director award. According to Frye's memories, Crawford, "It was a beautiful scenery that night. Edith Sid made her a very beautiful silver tight dress. With her fingers, wrists, neck and ears All kinds of pearls and diamonds." Davis didn't know that Crawford had been arranged to accept the award for the nominee who was not present. If you know, the problem may not be that serious. She strongly desires to win her third statuette that night. But the first blow was when she heard that Anne Bancroft of "Helen Keller" won the best actress. Then came the second one, and it was Jane Crawford who presented the prize to Annie! According to the United Daily News columnist Bob Toms, “Betty felt someone touched her with her hand.'Sorry,' it was Jane who strode past her. Then she stepped onto the stage to thunderous applause. At that moment, Betty Davis will probably never forget it in this life." William Caso, the opportunist who sits on the sidelines, doesn't want to waste the opportunity to make horror movies with vicious old women. But his preferred goal is no longer possible. Crawford suddenly became popular. Acting as a strong director of a mental hospital in "The Manager". And Davis is also collaborating with the only actress who cannot surpass her limelight: herself. Relying on movie magic, Davis played the two roles of twin sisters in "Evil Button". Other actors who play twins are usually happily divided into one good and one bad. In this film, the two sisters are very vicious. Caso, who was forced to abandon his previous film plan due to an accident, was finally lucky to meet Crawford at a certain Hollywood banquet. He couldn't hide his excitement, threw away the cigar, and brought her a glass of Centennial Smiru Water. Caso cheekily lied that there was a script specially prepared for Crawford. The author is Robert Bloch, a famous writer who wrote "The Terror". The name of the script is "Corset". "Please go on, Mr. Caso," Crawford said. So he told a story that was somewhat far-fetched. A 50-year-old woman named Lucy Hobby, who has been in a mental hospital for twenty years, is going to live on a farm in the country with her daughter. When Lucy was 30 years old, she found her husband was fooling around with prostitutes in the bar. In a rage, he chopped off their heads with an axe. Now she wants to live a peaceful life. However, the murder of the axe has reappeared again. "Wow" "She is a suspected murderer," Caso continued, "but she thought she did it herself." "Then?" "She was arrested, but she was not the real murderer." Caso said with a smile. "It's the daughter of her twins." "This little bitch," Crawford took a sip, "When can I see the script?" Although he was busy promoting Pepsi, Crawford brought the script back to New York. , Read it again. Then she met with Caso, Bloch, and Colombia's executive vice president, Leo Jeff. "This film must be completely rewritten in a way that I can accept, otherwise I won't take it." After lunch, she calmly told the other party what she had prepared. Her guests held back their desserts. The movie has indeed become Crawford’s way, making Lucy ten years younger, and adding some essential show-off shots, while Caso takes more time to create horror effects. When the film actually met the audience, Caso made some minor changes. "I always have some bad ideas for promotion," he told Variety Show. "My idea is more accurate than what Hitchcock and Disney did on TV." In fact, he didn't use any technical means, but he personally showed up in twenty theaters in seven major cities. His videos. Crawford spoke, answered questions, and finally swung the axe. The promotion tour caused a great sensation, but the critics disagreed. "It's time for Jane Crawford to return to mainstream high-fashion movies from Housewives' B-level horror films." Judean Kris wrote. "Miss Crawford, elegant temperament, obviously not suitable for casual clothes. Robert Bloch's cliché script, inferior film quality and director level, obviously more suitable for the low-intellectual idiot in the style of Karlov (starring Frankenstein)." Fortunately, as far as Crawford is concerned, the high income has somewhat offset the sting of harsh comments. At the same time, the number of horror queens is still increasing. "This little bitch," Crawford took a sip of wine, "When can I see the script?" Although he was busy promoting Pepsi, Crawford took the script back to New York and read it again. Then she met with Caso, Bloch, and Colombia's executive vice president, Leo Jeff. "This film must be completely rewritten in a way that I can accept, otherwise I won't take it." After lunch, she calmly told the other party what she had prepared. Her guests held back their desserts. The movie has indeed become Crawford’s way, making Lucy ten years younger, and adding some essential show-off shots, while Caso takes more time to create horror effects. When the film actually met the audience, Caso made some minor changes. "I always have some bad ideas for promotion," he told Variety Show. "My idea is more accurate than what Hitchcock and Disney did on TV." In fact, he didn't use any technical means, but he personally showed up in twenty theaters in seven major cities. His videos. Crawford spoke, answered questions, and finally swung the axe. The promotion tour caused a great sensation, but the critics disagreed. "It's time for Jane Crawford to return to mainstream high-fashion movies from Housewives' B-level horror films." Judean Kris wrote. "Miss Crawford, elegant temperament, obviously not suitable for casual clothes. Robert Bloch's cliché script, inferior film quality and director level, obviously more suitable for the low-intellectual idiot in the style of Karlov (starring Frankenstein)." Fortunately, as far as Crawford is concerned, the high income has somewhat offset the sting of harsh comments. At the same time, the number of horror queens is still increasing. "This little bitch," Crawford took a sip of wine, "When can I see the script?" Although he was busy promoting Pepsi, Crawford took the script back to New York and read it again. Then she met with Caso, Bloch, and Colombia's executive vice president, Leo Jeff. "This film must be completely rewritten in a way that I can accept, otherwise I won't take it." After lunch, she calmly told the other party what she had prepared. Her guests held back their desserts. The movie has indeed become Crawford’s way, making Lucy ten years younger, and adding some essential show-off shots, while Caso takes more time to create horror effects. When the film actually met the audience, Caso made some minor changes. "I always have some bad ideas for promotion," he told Variety Show. "My idea is more accurate than what Hitchcock and Disney did on TV." In fact, he didn't use any technical means, but he personally showed up in twenty theaters in seven major cities. His videos. Crawford spoke, answered questions, and finally swung the axe. The promotion tour caused a great sensation, but the critics disagreed. "It's time for Jane Crawford to return to mainstream high-fashion movies from Housewives' B-level horror films." Judean Kris wrote. "Miss Crawford, elegant temperament, obviously not suitable for casual clothes. Robert Bloch's cliché script, inferior film quality and director level, obviously more suitable for the low-intellectual idiot in the style of Karlov (starring Frankenstein)." Fortunately, as far as Crawford is concerned, the high income has somewhat offset the sting of harsh comments. At the same time, the number of horror queens is still increasing. When the film actually met the audience, Caso made some minor changes. "I always have some bad ideas for promotion," he told Variety Show. "My idea is more accurate than what Hitchcock and Disney did on TV." In fact, he didn't use any technical means, but he personally showed up in twenty theaters in seven major cities. His videos. Crawford spoke, answered questions, and finally swung the axe. The promotion tour caused a great sensation, but the critics disagreed. "It's time for Jane Crawford to return to mainstream high-fashion movies from Housewives' B-level horror films." Judean Kris wrote. "Miss Crawford, elegant temperament, obviously not suitable for casual clothes. Robert Bloch's cliché script, inferior film quality and director level, obviously more suitable for the low-intellectual idiot in the style of Karlov (starring Frankenstein)." Fortunately, as far as Crawford is concerned, the high income has somewhat offset the sting of harsh comments. At the same time, the number of horror queens is still increasing. When the film actually met the audience, Caso made some minor changes. "I always have some bad ideas for promotion," he told Variety Show. "My idea is more accurate than what Hitchcock and Disney did on TV." In fact, he didn't use any technical means, but he personally showed up in twenty theaters in seven major cities. His videos. Crawford spoke, answered questions, and finally swung the axe. The promotion tour caused a great sensation, but the critics disagreed. "It's time for Jane Crawford to return to mainstream high-fashion movies from Housewives' B-level horror films." Judean Kris wrote. "Miss Crawford, elegant temperament, obviously not suitable for casual clothes. Robert Bloch's cliché script, inferior film quality and director level, obviously more suitable for the low-intellectual idiot in the style of Karlov (starring Frankenstein)." Fortunately, as far as Crawford is concerned, the high income has somewhat offset the sting of harsh comments. At the same time, the number of horror queens is still increasing.
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