Platicsco Good story, Not enough for a whole film

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Leofwine_draca A funny, entertaining axe murder romp from director William Castle, who brings all of the expected lurid sensationalism to the film, which is full of the expected spooky music and creaky doors. The opening pictures of people at an asylum are also the same as those used in BEDLAM and ASYLUM, bringing to mind the same distorted, swirling features of the insane.Joan Crawford stars. She shows here that she's still got what it takes to captivate the audience and hold the screen, her acting dominating every moment she appears, and she fits perfectly into the role of the nice but occasionally snarling woman who may or may not be demented. In her black wig she even looks 30 years younger, no mean feat as she was 60 when this film was made, and her character is in total control of things, whether it be flirting with her son's lover or having a screaming match with her doctor.Along with Crawford's considerable presence, there is solid support from the young cast caught up in the nightmare, especially from Diane Baker who seems initially innocent but whose character soon takes another twist. A young George Kennedy appears as an unlucky farmhand who gets decapitated. The film is not particularly violent or gory, and there is no blood in it; however Kennedy's head is cut off in full view of the camera, while other murders are performed in shadow, much like in THE BLACK CAT. The influence of PSYCHO is clear here, with lots of references to 'mother' and schizophrenic activities; to further the point Robert Bloch is on hand as the writer.However, the film spends far too long on talk and not enough action, and therefore may be quite boring for those not experienced with this particular genre. With this fault aside, however, it's a fun story with a bravura performance from Crawford, typical of the director's approach and with a lot to commend it.

AaronCapenBanner William Castle directed this (for its time) gory thriller that stars Joan Crawford as Lucy Harbin, recently released from a mental asylum after 20 years for murdering her husband and his girlfriend with an ax. Lucy comes home to stay with her now grown daughter Carol(played by Diane Baker) who had witnessed the crime, but seems to have adjusted well, and is planning on getting married when a new series of ax murders occur. Is Lucy reverting back to her old ways, or is someone trying to frame her? Unappealing and ridiculous film is solely for die-hard fans of Joan Crawford, the unmistakable star of this film, though Diane Baker is quite good in her role...pity about the twist ending!

Spikeopath ..when she saw what she had done, she gave his girlfriend 41.Strait-Jacket is produced and directed by William Castle and written by Robert Bloch. It stars Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, Rochelle Hudson and George Kennedy. Music is by Van Alexander and cinematography by Arthur E. Arling.Lucy Harbin (Crawford) has spent 20 years in a mental asylum for the brutal axe murders of her husband and his mistress. Released back into society, Lucy goes to live at the farm of her brother Bill (Erickson), where Lucy's grown up daughter Carol (Baker) also resides. Pretty soon, though, Lucy is plagued by horrible visions and begins to hear upsetting things, and now it seems that the people she is coming into contact with are being brutally murdered….with an axe.Grand Dame GuignolIt seems on odd blend on first glance, Oscar winner Crawford paired up with Castle, maestro of the gimmick led movie, producing a film written by Bloch, author of the novel that would become Hitchcock's Psycho. Yet while it's hardly a true horror picture, the kind to have you gnawing away at your nails, it's unashamedly fun whilst carrying with it a bubbling under the surface sense of dastardly misadventure. Sensibly filming it in moody black and white, Castle, who certainly wasn't the most adventurous of directors, did have a sense for tone and an awareness of what worked for his target audience. Strait-Jacket is a solid murder mystery on the page, and on the screen it's coupled with some flashes of axe wielding terror. Having a woman who is the protagonist-who may be the antagonist-also adds bite to Castle's production, but he, and his film, are indebted to Crawford and her wonderful OTT trip into self parody.Joan Blondell was all set to play Lucy Harbin, but an accident at home meant she was unable to fill the role. Castle got lucky, he needed a star, and with Whatever Happened to Baby Jane? Reinvigorating Crawford's career two years previously, Crawford was once again a name actress. Bumping into Crawford at a party, Castle sold the pitch to her, even bluffing her that the part was written with her in mind. It was a goer, but Crawford held sway with all the decisions, including script rewrites and choice of staff to work on the picture with her. It paid off, because after what was largely a trouble free shoot , film was a success and Castle had one of the best films of his career. Here Castle had the ultimate gimmick to sell his film, Crawford herself, although he couldn't resist some sort of tie-in so had millions of tiny cardboard axes made up to give to paying punters at the theatre.Sure it's a film that nods towards Psycho and Baby Jane et al, but the denouement here more than holds its own, while there's also a glorious bit of fun to be observed at the end with the Columbia Torch Lady logo suitably tampered with. Those actors around Crawford invariably fall into her shadow, but it's a mostly effective cast and Arling's photography blends seamlessly with the unfolding story.So not outright horror, then, more a psychological drama with some horror elements. But, which ever way you look at it, Crawford's performance is value for money as she files in for a bit of psycho- biddy. 7.5/10

Lechuguilla Given its reputation and the first thirty seconds, "Strait-Jacket" might be envisioned as a campy, over-the-top, horror fest, a movie to laugh at. And indeed, it does contain elements of camp: Crawford's excessive makeup in some scenes, some of her acting, some special effects, the title sequence, and some of the music. These campy elements make the film fun to watch.And yet there's another side to this film, an interesting overall story that actually treats viewers to genuine suspense and some surprises toward the end. Long tedious sequences that are boring in the plot's middle section do have relevance, in retrospect. But they render the plot structure imperfect.Important story events occur off-screen, consistent with effective plot misdirection. Viewers are thus led down the garden path, but rewarded at the end. Clues are effectively subtle.Joan Crawford dominates this film. How could it be otherwise? Even when she's not physically present, the general thrust of the scene pertains to her character, Lucy Harbin, a middle-aged woman with some psychological issues. Crawford is best in those scenes where Lucy is an older mom, fragile, unsure of herself after being confined to an institution. Crawford is less effective, even ridiculous, as a youthful hussy, slinky and tawdry, wearing jewelry that jangles, and sporting caterpillar eyebrows and a horrid dark wig. But again, the blatant excess here generates the film's camp appeal.The director uses B&W lighting effectively, especially toward the end, to create suspense and a sense of mystery. Rearview projection in a few scenes makes the film look dated.I was expecting a total camp fest. And that's how most people probably perceive this film. But viewers who like thrillers will surely appreciate a story with a clever premise and a terrific ending, both of which redeem "Strait-Jacket" as credible, despite the camp.