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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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Monologue: "Lousy Lay"

I was married for four years and pretended to be happy and had six years of analysis and pretended to be sane. My husband ran off with his boyfriend and I had an affair with my analyst who told me I was the worst lay he'd ever had. I can't tell you how many men have told me what a lousy lay I am. 

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I M 3

JA from MNPP here. I'm sure this is something that Nathaniel has considered here on the site before, but it's fresh on my mind with that there fifteen second teaser for tomorrow's actual full-sized trailer for Iron Man 3 sucking all the air out of the room today. Ignoring it would be the best way to not give in to the micro-seconding of hype, but I'm so continually struck dumb by these teaser-trailer-for-trailers that it almost makes me kind of appreciative in a backwards sort of way? Of course that's where we were heading as a culture! Of course. It all makes sense now, so I thank you, harbinger of doom, for the clarity. It's like those screenings where you bring your iPads to play along, or the commercials that they force us to watch on YouTube. What do I say to that? Besides just packing up a bag and moving into a cave, of course. Next stop Honey Boo Boo: On Ice: The Movie. In summation, get off my lawn.

First & Last: Thomas & Jesse

the first and last image from a motion picture (and the first and last line of dialogue)

first

Thomas, I want you home by 3:00... not 3:30, not 3:15, but 3:00."

last

When Jesse was a boy, just a few years younger than you, his father..."

Can you guess the movie? Note. Bonus points if you can name the director who never made another film...