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"Want to see it
again little girl? It shouldn't frighten you." The opening
scene of a crying Jack in the Box toy forebodes the strangeness
yet to come.
Director Robert Aldrich
and writer Lukas Heller's What
Ever Happened to Baby Jane? (based on a novel by
Henry Farrell) is classic horror saved from camp by its fine
performances. The story of sibling rivalry gone mad necessitates
the highly wrought performances from its lead actresses, Bette
Davis and Joan Crawford. The sparse supporting cast play their
individual parts with enough verve to make them memorable,
yet with the restraint required to allow two of Hollywood's
Grande Dames have at it.
In 1917, Baby Jane Hudson
(main character) is a wildly popular child song and dance
act on the vaudeville circuit. Tyrannical behind the scenes,
her heart belongs to daddy and her earnings support the show
business family. "I want an ice cream. . . . I want it!
I make the money so I can have what I want."
Mother understands (overall
story consequence) Jane's stardom will be short lived, and
the real talent lies in big sister Blanche (impact character).
MOTHER
You're the lucky one
Blanche, really you are. Someday it's going to be you that's
getting all the attention (impact character benchmark —
future). And when that happens, I want you to try to be kinder
to Jane and your father than they are to you now. . . . I
hope you'll try and remember that (overall story dividend
— memory).
Bitterly, Blanche replies:
"I won't forget. You bet I won't forget!"
Cut to 1935. Baby Jane
is a B movie actress-Blanche, "the biggest thing in movies
today." Blanche has the clout to insist (impact character
unique ability — interdiction) Jane receive film work
— much to the chagrin of the industry:
PROJECTIONIST 1
When the old man hired
the Hudson sisters, how come he had to hire the back end of
the act too? Boy, what a no-talent broad that Baby Jane is.
PROJECTIONIST 2
Why can't she stay sober?
Later, a studio head
remarks: "She [Blanche] ought to have sense (main versus
impact character thematic issue) enough to know that she can't
make a star out of Baby Jane again."
Up to this point, enough
information is given to provide backstory for the sisters'
twisted relationship. The next scene is an automobile pulling
up to the Hudson residence — one sister opens the gate,
the other attempts to run her down (story driver — action).
A shriek and a sob and the credits open the film to present
day.
Blanche is bound physically
to a wheelchair (impact character domain — universe);
Jane bound emotionally to her sister by guilt (main versus
impact character domain — physics). They live as recluses
with intermittent household help. Nosy Parker neighbor comments:
"How come we never see her [Blanche] around? We've been
living next door (overall story thematic issue — situation)
for six months now, and the only one I ever see is that fat
sister slouching around. Don't they ever have company? . .
. Julie says that sister is kind of peculiar (main character
thematic issue — suspicion). . . she's supposed to be
(overall story problem — perception) responsible for
the accident that crippled her sister Blanche."
The local television
station is broadcasting (overall story signpost 1 — present)
Blanche's classic films (overall story concern — past)
an event that pleases her, yet raises Jane's ire (main versus
impact character focus — self-aware; overall story catalyst
— circumstances). A vitriolic alcoholic (overall story
focus-chaos), Jane's increasing jealousy (main character benchmark
— subconscious) and strange behavior (overall story domain
— psychology) is cause for Elvira, the Hudsons' housekeeper,
to prod Blanche to sell the house and conceptualize (overall
story goal) a way to put Jane "where they can look after
her properly."
BLANCHE
We'll probably have
to sell the house.
JANE
When did our business
manager tell you all this?
BLANCHE
Early last week, I think.
JANE
. . . Oh you're a liar.
You're just a liar! You always were (impact character solution
— actuality). . . . Don't you think I know everything
that goes on in this house (main versus impact character response
— aware)? . . . Blanche, you aren't ever going to sell
this house (main versus impact character inhibitor —
destiny).
Jane, furious, disconnects
Blanche's bedroom telephone (main versus impact character
thematic issue — senses) and serves up a dead pet bird
for lunch.
Determined (main character
domain —m ind) to make a comeback (main character critical
flaw — sense of self), Jane places an ad in the personals
to hire a musical accompanist. She lies to Elvira to keep
her out of the way — and away from interfering with Blanche:
JANE
You can have the whole
day off.
ELVIRA
Well thanks, but does
. . . Miss Blanche know about my taking the day off?
JANE
Oh sure, she knows (overall
story inhibitor — falsehood).
Jane receives her gentleman
caller, garishly made up and dressed in ghastly Baby Jane
apparel. Edwin, a musician and mama's boy, is a bit of a con
artist (overall story signpost 3 — being). Financial
circumstances (overall story catalyst) have compelled him
to answer Jane's ad. He overlooks Jane's bizarre behavior-intent
on following his own agenda (overall story concern —
psychology).
JANE
I'm Baby Jane Hudson.
EDWIN
[Taken aback. He obviously
has no clue who she is. He makes a quick recovery.]
Oh. Do you mean you're
really the Baby Jane Hudson?
JANE
Yes I am. And I'm going
to revive my act exactly as I used to do it. Of course some
of the arrangements will have to be brought up to date. Music
changes (main character problem) so much, doesn't it? . .
. There are a lot of people who remember me (main character
concern — memory). Lots of them.
While Jane is out with
Edwin, Blanche crawls downstairs to telephone the doctor.
Jane catches her in the act, overhearing Blanche inform Dr.
Shelby her sister is "emotionally disturbed." Jane
calls him back, impersonating Blanche (main character approach
— be-er), to put the doctor's mind at ease (overall story
outcome-failure).
The women's relationship
deteriorates further when Jane bashes Elvira over the head.
Jane trusses Blanche up and gags her mouth (main versus impact
character thematic issue — senses). Blanche's last link
to humanity is Edwin. Now a frequent visitor, his mother's
recounting of the Hudson sisters' scandal does not deter him
from playing along with Baby Jane. Once he actually (overall
story solution) sees Blanche, dying from dehydration and starvation,
he runs out (overall story focus — chaos), a weak, drunk,
and frightened man. (Or was it the lifelike, genuine Baby
Jane doll that scared him off?)
Jane believes "he's
gone to tell" (main character thematic counterpoint —
evidence) and bundles Blanche off into the car — heading
for the beach (main versus impact character signpost 4-doing).
Lying on the sand, near death, Blanche confesses to Jane (impact
character resolve — change):
BLANCHE
Jane, I made you waste
your whole life thinking you'd crippled me (main versus impact
character problem — perception). . . . You didn't do
it Jane. I did it myself. Don't you understand (main versus
impact character — concern)? I crippled myself. You weren't
driving that night. . . . You were too drunk. . . . You'd
been so cruel to me . . . I wanted to run you down —
crush you. But you saw the car coming. I hit the gates. I
snapped my spine.
JANE
You mean, all this time
we could have been friends (main versus impact character solution
— actuality)?
The police then catch
up to insane Baby Jane, dancing on the sand, strawberry ice
cream in hand (main character resolve — steadfast; main
character judgment — good).
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