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<blockquote data-quote="Snarky Oracle!" data-source="post: 433455" data-attributes="member: 57984"><p>Joan looks hungry...</p><p></p><p><img src="https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481668630_1199164401571345_3611535740912916076_n.jpg?_nc_cat=105&ccb=1-7&_nc_sid=127cfc&_nc_ohc=ZE70qIFunAgQ7kNvwFraW-v&_nc_oc=AdmH_xMExEntGpwBZqSnJhdc23ODwkVY6TXApGgBhBP6raN3-UOftuHSnM3F6zeIg9K_E4bBXBHUjtFXPZwsjNQR&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=Go4CdliERyqqHWlcJoM_-A&oh=00_AfkDE5UAl7uf1WmCH8Q0n-wy26e9JU0JPd8xzT15WQFJMQ&oe=6937DD54" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>Joan versus Olivia:</p><p><img src="https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481995845_1199163281571457_7142781846888521428_n.jpg?_nc_cat=102&ccb=1-7&_nc_sid=127cfc&_nc_ohc=MN22w3KOCa0Q7kNvwHkFUTd&_nc_oc=AdmV6vWlm0owbf017Io2EPa0q69D2_mp-Se8dg7ZXHEfx8Py-LjzyBMCMefBxblQ1CaPZWD2a8MsaRKE0YWONevA&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=-ug6CJE2fMbgMNWwuEkJtg&oh=00_AfnEFMYxb2vk5lbWuSaIpaipn91SfPcBiKT6mD3Db3G9NA&oe=6937FDD0" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>In the film's original script, more foreshadowing is made regarding the correlation between Miriam (then-played by Joan Crawford) and Jewel Mayhew (played by Mary Astor), as well as the circumstances surrounding the loss of Jewel's fortune.</p><p></p><p>One of these deleted sequences occurred early in the film, when Miriam's taxi passes Jewel Mayhew's mansion on route to Hollis House. Miriam and the taxi driver notice an auction house moving van leaving after having removed furniture from Jewel's mansion.</p><p></p><p>This sequence survived into the September 2nd, 1964 script revision, which occurred after Olivia de Havilland was hired to replace Crawford. However, the sequence does not appear in the finished film.</p><p></p><p><img src="https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/481668621_1199162834904835_6536756122900332831_n.jpg?_nc_cat=108&ccb=1-7&_nc_sid=127cfc&_nc_ohc=WNcpwbEpNq8Q7kNvwHmcEGO&_nc_oc=AdkuO3s-2Sxb-h6ooxFp2oSUnomvEkRwWtCsEr2jVZRHnI9JN9nC8o2zZj-vg1kvQdKUMlfeeNaBiyx0gHOiOHFE&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=a811SxbPYTV-JSqexP3jDw&oh=00_AflUTGTNzCqXqkyE9AwV9Al_Oe0uxxnFf9Zbra5CPljowQ&oe=6937DB70" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>In the film's original script, "Miriam" (Played by Joan Crawford) catches "Velma" (played by Agnes Moorehead) taking bribe money from a local journalist.</p><p>This sequence was filmed when Crawford was involved with the production, but was removed entirely by the time Crawford was replaced by Olivia de Havilland.</p><p></p><p>The character of "Miriam" wasn't the only one suffering rewrites and scene cuts. Joseph Cotten, Mary Astor and Cecil Kelloway all endured diminished screen time. Interestingly, the only character in the entire film whose scenes were never cut or shortened was those involving "Charlotte" - played by "producer" Bette Davis.</p><p></p><p><img src="https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/482032322_1199162844904834_7260633727580290565_n.jpg?_nc_cat=111&ccb=1-7&_nc_sid=127cfc&_nc_ohc=PdkAn49HoTwQ7kNvwG0YxHU&_nc_oc=Adl-MszGHYiQlWIDjijZz_tRwVeGcogPl-qhlsD7b_bT0boK87PTdxbV61PGLqlV_QBvUSYT39tYdWh0h5lj0Klq&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=CvIXW8g6R1uXyidlm6CcfQ&oh=00_AflmWUKBBviQCFNL11fT_33eXfR4y0nL9cHlCOz-jYaREw&oe=6937D75B" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>JOAN CRAWFORD, looking enchanting at the Louisiana Governor's Mansion on the evening of June 3rd, 1964.</p><p></p><p>Crawford, Bette Davis and the cast of "Hush...Hush, Sweet Charlotte" were invited to a cocktail party at the Governor's Mansion in the film's honor.</p><p></p><p><img src="https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/481658451_1199160554905063_6103298056835972408_n.jpg?_nc_cat=107&ccb=1-7&_nc_sid=127cfc&_nc_ohc=NryAJsDxTroQ7kNvwFq7KFa&_nc_oc=AdlHMIXGcnuGk2ckkNRNwYa7kZhfecfcxtxJdKxinPxvd5bvWQvXBWHMU__FaamYM8BBCe7HnHoySD_-fIJvfztU&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=jjXmoFUqM-w3sK_Gg-QSkg&oh=00_AfnS-dyLj0FxsEdqvGPWqHX9PugfBfHJAUnULPu6PWVx6g&oe=6937E550" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><h2></h2><p><strong><em>From The Concluding Chapter of Crawford:</em></strong></p><p></p><p>JOAN CRAWFORD filming her one and only scene opposite Bette Davis for "Hush...Hush, Sweet Charlotte." It was filmed in front of the Houmas House Plantation near Baton Rouge, Louisiana. (Photographed on June 3rd, 1964)</p><p></p><p>Many people do not know how differently the film's original script was before the script was supposedly slashed apart. As you see in this photo, Miriam is yelling at Charlotte. In the original script, Miriam arrives to the mansion amidst a flurry of pandemonium. Originally, when the taxi turns into the driveway, the driver and Miriam are greeting by Harry Willis (Cecil Kelloway) fleeing to his car to escape a potential blast from Charlotte's shotgun.</p><p>Charlotte, shotgun in hand, is standing at the front of the balcony screaming at Mr. Willis to get off of her property when she spots the taxi pulling up to the front door. Charlotte then aims the shotgun at the taxi and screams for whomever is in the taxi to also leave her property.</p><p></p><p>The driver, frightened by this ordeal, refuses to get out the taxi. Miriam, however, swings open the backdoor of the taxi, steps out, looks boldly up at Charlotte (who has Miriam's face locked in front of the shotgun barrel and her finger on the trigger) and yells, "Charlotte, stop pointing that damn thing at me and go inside!"</p><p></p><p>"She lowers the gun, realizing it is, indeed, Miriam. She reacts with relief, then chagrin for being caught at such a disadvantage in the face of Miriam's sleek stylishness."</p><p></p><p>"She is perfection, nearly too much so."</p><p></p><p>"She whirls about, very suddenly, and goes inside."</p><p></p><p>Miriam, having gained the upper hand on the situation, looks in at the driver and tells him, "You can come out now. And bring my bags."</p><p></p><p>Obviously, this is NOT the introduction we, the audience, get of Miriam in the final film with de Havilland. Crawford's Miriam was a Rockstar, a force of nature, and from the moment she arrives at the plantation we know she is there to gain control of everything. No one, gun or not, is going to stand in her way.</p><p>Originally, Miriam was the backbone of the film - the conductor of the film's suspense. All of this was removed from the original script, and so went the meat of the film.</p><p></p><p>Olivia de Havilland, while a great actress in her own right, arrives to the mansion like meek Aunt Effie returning home from the hospital. de Havilland struggled with playing a character like Miriam Deering. Throughout the film, de Havilland's Miriam is little more than an observer, a "wall flower," to Charlotte's antics - which are performed by Davis with little difference to how she played "Baby Jane." Though, in "...Sweet Charlotte" Davis exhibits the most deplorable southern accent ever captured on film.</p><p>Throughout the finished film, Charlotte is the power in control - not Miriam - which is how Davis wanted it.</p><p></p><p>It's been infamously noted that Davis was awe-inspired by Crawford's performance as Miriam in her arrival scene at the mansion. It was not long afterward that the production went horribly awry.</p><p></p><p><img src="https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481662642_1199160371571748_3590471935192579184_n.jpg?_nc_cat=104&ccb=1-7&_nc_sid=127cfc&_nc_ohc=xtu3ng-axi8Q7kNvwHNovDM&_nc_oc=AdmURKsSQIS5h2BSUzoprmI8Ezg8FrPwKPcUSm7sp6nHBfC9sTBR0F3nUsTD-MkM1qZURFFMqHZhYcVg6rFb6UQM&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=NBEtVzsZNx9yp9AlPHPS7w&oh=00_Afm6QIZHJGROj1uuVVPj3KUaSCVF9X1CHfX4JxUOUuFD-g&oe=6937DAA8" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p></blockquote><p></p>
[QUOTE="Snarky Oracle!, post: 433455, member: 57984"] Joan looks hungry... [IMG]https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481668630_1199164401571345_3611535740912916076_n.jpg?_nc_cat=105&ccb=1-7&_nc_sid=127cfc&_nc_ohc=ZE70qIFunAgQ7kNvwFraW-v&_nc_oc=AdmH_xMExEntGpwBZqSnJhdc23ODwkVY6TXApGgBhBP6raN3-UOftuHSnM3F6zeIg9K_E4bBXBHUjtFXPZwsjNQR&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=Go4CdliERyqqHWlcJoM_-A&oh=00_AfkDE5UAl7uf1WmCH8Q0n-wy26e9JU0JPd8xzT15WQFJMQ&oe=6937DD54[/IMG] Joan versus Olivia: [IMG]https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481995845_1199163281571457_7142781846888521428_n.jpg?_nc_cat=102&ccb=1-7&_nc_sid=127cfc&_nc_ohc=MN22w3KOCa0Q7kNvwHkFUTd&_nc_oc=AdmV6vWlm0owbf017Io2EPa0q69D2_mp-Se8dg7ZXHEfx8Py-LjzyBMCMefBxblQ1CaPZWD2a8MsaRKE0YWONevA&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=-ug6CJE2fMbgMNWwuEkJtg&oh=00_AfnEFMYxb2vk5lbWuSaIpaipn91SfPcBiKT6mD3Db3G9NA&oe=6937FDD0[/IMG] In the film's original script, more foreshadowing is made regarding the correlation between Miriam (then-played by Joan Crawford) and Jewel Mayhew (played by Mary Astor), as well as the circumstances surrounding the loss of Jewel's fortune. One of these deleted sequences occurred early in the film, when Miriam's taxi passes Jewel Mayhew's mansion on route to Hollis House. Miriam and the taxi driver notice an auction house moving van leaving after having removed furniture from Jewel's mansion. This sequence survived into the September 2nd, 1964 script revision, which occurred after Olivia de Havilland was hired to replace Crawford. However, the sequence does not appear in the finished film. [IMG]https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/481668621_1199162834904835_6536756122900332831_n.jpg?_nc_cat=108&ccb=1-7&_nc_sid=127cfc&_nc_ohc=WNcpwbEpNq8Q7kNvwHmcEGO&_nc_oc=AdkuO3s-2Sxb-h6ooxFp2oSUnomvEkRwWtCsEr2jVZRHnI9JN9nC8o2zZj-vg1kvQdKUMlfeeNaBiyx0gHOiOHFE&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=a811SxbPYTV-JSqexP3jDw&oh=00_AflUTGTNzCqXqkyE9AwV9Al_Oe0uxxnFf9Zbra5CPljowQ&oe=6937DB70[/IMG] In the film's original script, "Miriam" (Played by Joan Crawford) catches "Velma" (played by Agnes Moorehead) taking bribe money from a local journalist. This sequence was filmed when Crawford was involved with the production, but was removed entirely by the time Crawford was replaced by Olivia de Havilland. The character of "Miriam" wasn't the only one suffering rewrites and scene cuts. Joseph Cotten, Mary Astor and Cecil Kelloway all endured diminished screen time. Interestingly, the only character in the entire film whose scenes were never cut or shortened was those involving "Charlotte" - played by "producer" Bette Davis. [IMG]https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/482032322_1199162844904834_7260633727580290565_n.jpg?_nc_cat=111&ccb=1-7&_nc_sid=127cfc&_nc_ohc=PdkAn49HoTwQ7kNvwG0YxHU&_nc_oc=Adl-MszGHYiQlWIDjijZz_tRwVeGcogPl-qhlsD7b_bT0boK87PTdxbV61PGLqlV_QBvUSYT39tYdWh0h5lj0Klq&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=CvIXW8g6R1uXyidlm6CcfQ&oh=00_AflmWUKBBviQCFNL11fT_33eXfR4y0nL9cHlCOz-jYaREw&oe=6937D75B[/IMG] JOAN CRAWFORD, looking enchanting at the Louisiana Governor's Mansion on the evening of June 3rd, 1964. Crawford, Bette Davis and the cast of "Hush...Hush, Sweet Charlotte" were invited to a cocktail party at the Governor's Mansion in the film's honor. [IMG]https://scontent-atl3-3.xx.fbcdn.net/v/t39.30808-6/481658451_1199160554905063_6103298056835972408_n.jpg?_nc_cat=107&ccb=1-7&_nc_sid=127cfc&_nc_ohc=NryAJsDxTroQ7kNvwFq7KFa&_nc_oc=AdlHMIXGcnuGk2ckkNRNwYa7kZhfecfcxtxJdKxinPxvd5bvWQvXBWHMU__FaamYM8BBCe7HnHoySD_-fIJvfztU&_nc_zt=23&_nc_ht=scontent-atl3-3.xx&_nc_gid=jjXmoFUqM-w3sK_Gg-QSkg&oh=00_AfnS-dyLj0FxsEdqvGPWqHX9PugfBfHJAUnULPu6PWVx6g&oe=6937E550[/IMG] [HEADING=1][/HEADING] [B][I]From The Concluding Chapter of Crawford:[/I][/B] JOAN CRAWFORD filming her one and only scene opposite Bette Davis for "Hush...Hush, Sweet Charlotte." It was filmed in front of the Houmas House Plantation near Baton Rouge, Louisiana. (Photographed on June 3rd, 1964) Many people do not know how differently the film's original script was before the script was supposedly slashed apart. As you see in this photo, Miriam is yelling at Charlotte. In the original script, Miriam arrives to the mansion amidst a flurry of pandemonium. Originally, when the taxi turns into the driveway, the driver and Miriam are greeting by Harry Willis (Cecil Kelloway) fleeing to his car to escape a potential blast from Charlotte's shotgun. Charlotte, shotgun in hand, is standing at the front of the balcony screaming at Mr. Willis to get off of her property when she spots the taxi pulling up to the front door. Charlotte then aims the shotgun at the taxi and screams for whomever is in the taxi to also leave her property. The driver, frightened by this ordeal, refuses to get out the taxi. Miriam, however, swings open the backdoor of the taxi, steps out, looks boldly up at Charlotte (who has Miriam's face locked in front of the shotgun barrel and her finger on the trigger) and yells, "Charlotte, stop pointing that damn thing at me and go inside!" "She lowers the gun, realizing it is, indeed, Miriam. She reacts with relief, then chagrin for being caught at such a disadvantage in the face of Miriam's sleek stylishness." "She is perfection, nearly too much so." "She whirls about, very suddenly, and goes inside." Miriam, having gained the upper hand on the situation, looks in at the driver and tells him, "You can come out now. And bring my bags." Obviously, this is NOT the introduction we, the audience, get of Miriam in the final film with de Havilland. Crawford's Miriam was a Rockstar, a force of nature, and from the moment she arrives at the plantation we know she is there to gain control of everything. No one, gun or not, is going to stand in her way. Originally, Miriam was the backbone of the film - the conductor of the film's suspense. All of this was removed from the original script, and so went the meat of the film. Olivia de Havilland, while a great actress in her own right, arrives to the mansion like meek Aunt Effie returning home from the hospital. de Havilland struggled with playing a character like Miriam Deering. Throughout the film, de Havilland's Miriam is little more than an observer, a "wall flower," to Charlotte's antics - which are performed by Davis with little difference to how she played "Baby Jane." Though, in "...Sweet Charlotte" Davis exhibits the most deplorable southern accent ever captured on film. Throughout the finished film, Charlotte is the power in control - not Miriam - which is how Davis wanted it. It's been infamously noted that Davis was awe-inspired by Crawford's performance as Miriam in her arrival scene at the mansion. It was not long afterward that the production went horribly awry. [IMG]https://scontent-atl3-2.xx.fbcdn.net/v/t39.30808-6/481662642_1199160371571748_3590471935192579184_n.jpg?_nc_cat=104&ccb=1-7&_nc_sid=127cfc&_nc_ohc=xtu3ng-axi8Q7kNvwHNovDM&_nc_oc=AdmURKsSQIS5h2BSUzoprmI8Ezg8FrPwKPcUSm7sp6nHBfC9sTBR0F3nUsTD-MkM1qZURFFMqHZhYcVg6rFb6UQM&_nc_zt=23&_nc_ht=scontent-atl3-2.xx&_nc_gid=NBEtVzsZNx9yp9AlPHPS7w&oh=00_Afm6QIZHJGROj1uuVVPj3KUaSCVF9X1CHfX4JxUOUuFD-g&oe=6937DAA8[/IMG] [/QUOTE]
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