Strait-Jacket (1964) User Reviews (125)

William Castle Presents Joan Crawford In EMOTE-O-RAMA

[gftbiloxi · 7/10 · 14 May 2005]

Like all William Castle films, the story of STRAIT-JACKET is slight, full of holes, and often silly to the point of absurdity. Long ago Joan Crawford came home to find her husband in bed with a floozie and snatched up an ax. Adjudged insane, she is locked up in an asylum for twenty years, but now she's home--and pretty soon some really weird things begin to happen around the old family farm. Could it be, oh, I don't know... JOAN? Throughout his career, producer-director William Castle liked to build his movies around gimmicks: TINGLER had "Percepto," 13 GHOSTS had "Illusion-O," and HOUSE ON HAUNTED HILL had "Emergo." But STRAIT-JACKET had something better: Joan Crawford herself, who plays in a style that can only be described as "Emote-O-Rama." Say what you like about Crawford, she never gave any performance less than one hundred percent, and in STRAIT-JACKET she gives one hundred and fifty. In the opening scenes, 60-something Joan has the unmitigated gall to play Lucy in her 20s! Later, as Lucy in her 40s, Joan plays the role like a nice little old lady who occasionally drops acid: when she's not busy with her nervous breakdown, she sucks down bourbon, attempts to seduce her daughter's boyfriend (even to the point of putting her fingers in his mouth), knits like a fiend, lights a cigarette by striking a match on a record album, raises hell at a dinner party... and all of it about as subtle as a bulldozer.

But they didn't call her a star for nothing: not only does Crawford manage to carry it off with complete conviction, she actually manages to endow the character with considerable pathos along the way. And I have absolutely no doubt that THIS was the film Faye Dunaway studied the most when preparing to play Crawford in the infamous MOMMIE DEAREST; watch both back-to-back and you'll know exactly what I mean.

The rest of the cast is pretty interesting as well, featuring Diane Baker as daughter Carol, Leif Erickson as Crawford's brother, George Kennedy as an unsavory farmhand, and a very young Lee Majors as the ill-fated husband--not to mention Mitchell Cox, a Pepsi V.P. Joan was favoring at the time. There are cheap special effects (amazing, how she can neatly lop off a head or two with a single blow), Pepsi-Cola product placements, and even some dialogue that would do Ed Woods proud. It's all campy and bizarre and hilariously weird and ramped up to the nth degree by Crawford's full-force performance.

With a somewhat better script and production values, STRAIT-JACKET could easily have matched Bette Davis' more sophisticated HUSH, HUSH SWEET CHARLOTTE; as it stands, however, it is a cult movie in all caps. The DVD release is very nicely done, with the film itself in excellent condition. A collection of Crawford's costume tests gives a surprising insight to actress' personality, and a particularly nice little making-of documentary includes comments from Diane Baker. (Note: don't watch the documentary, called "Battle-Ax," until after you've seen the film: it's a spoiler.) Strongly recommended to Castle, Cult, and Crawford fans! Gary F. Taylor, aka GFT, Amazon Reviewer

''The Best In Axe-ploitation!''

[phillindholm · 8/10 · 5 August 2005]

No matter what script she was given to do, Joan Crawford was a pro. In this William Castle classic, she proves it again. The plot has been rehashed in previous reviews, so I can get to the heart of the matter here. Joan plays an ex-axe murderess with typical fury, beautifully combined with a poignancy which may be completely unexpected, but nevertheless completely appropriate. Well supported by the underrated Diane Baker, Leif Erikson, Rochelle Hudson and George Kennedy, she gives meaning and depth to what otherwise would have been just another horror film. Whether playing scenes with daughter Baker's boyfriend (John Anthony Hayes) or his snobbish parents, (Howard St, John and Edith Atwater), Crawford is on the money, using her years of experience to transcend her material. Thanks to her, "Strait-Jacket" is a worthy thriller from a Legendary Star and a fondly remembered director. See Castle's other collaboration with Joan, "I Saw What You Did" (1965). It's a winner, too!

Absurd brilliance

[Panamint · 7/10 · 22 May 2017]

Joan Crawford's performance is masterful, ranging all the way from pitiful to frightening. Crawford was a great movie actress. She commands the screen and has thoroughly prepared for every scene and every word of dialogue, however good or bad the dialogue might be.

The whole film is never dull for a moment and is well made within the limits of the guilty pleasure sort of style. Like a train wreck, you can't look away.

Supporting cast acting is adequate, especially Diane Baker who works well with Joan Crawford as they create a memorable mother/daughter team.

For the ultimate in absurd, guilty pleasure brilliance by director William Castle and star Joan Crawford, view "Straight Jacket" when you get the chance.

You can't afford to miss Straight Jacket.

[ryonie · 5 January 2004]

The movie opens with shocking betrayal. Lucy Harbin (Joan Crawford) returns from a journey only to find her husband (Lee Majors) in bed with another woman. She spins into a murderous rampage. With an axe, she evens the score by lopping of the heads of her adulterous husband and his mistress with a big, shiny axe. Her revenge is the fuel for local legend, but the price is twenty years in a mental intuition.

When Crawford is released from custody (fully recovered) the story begins.

The prison bus drops Crawford off at the home of her sweet and innocent daughter, who is very popular and happens to be dating the richest boy in town. She also watched as her mother brutally murdered two people, including her father, but in spite of life's little setbacks, Diane Harbin is perfectly fine.

With such a humdrum cast of characters, it seems strange when headless corpses start showing up all over town. Who could the murderer be?

This movie is one of the five best movies I saw in 2003. It's lots of fun, and Crawford's performance outclasses any I've seen. It is a GREAT movie. It's got LOTS of decapitations, but no gore or fake blood! A modern marvel!

Crudely effective William Castle schlocker; Crawford's last hurrah.

[sdiner82 · 6/10 · 15 September 2002]

Following the unexpected smash-hit "Whatever Happened to Baby Jane," both Bette Davis & Joan Crawford saw their careers revitalized--as crones in horror films. Davis took the high road ("The Nanny" features one of her finest, most subdued performances.) Crawford apparently took whatever she could get, as witness "Strait-Jacket," an enormously entertaining low-budget low-class William Castle schlockfest wherein our gal Joanie's released from prison years after chopping hubby's block off upon discovering him in bed with another woman. When La Crawford is sent home to stay with her daughter (the lovely Diane Baker, whose career had apparently fallen on hard times as well), heads begin to roll again and guess who the cops think is wielding the axe? Like most of Castle's fright-fests, "Strait-Jacket" is a crude, outrageous (for its time), often genuinely shuddery thriller that does indeed deliver the goods--and benefits immensely from Crawford's undeniable star-power (whether you're a fan or not). The isolated farmhouse setting provides a perfectly eerie backdrop for the ghoulish goings-on, the cast includes such pros as Leif Erickson, George Kennedy and Rochelle Hudson, and when the battle-axe starts swinging, the chill-factor is truly alarming. The surprise ending is a corker--and such a neat, nasty twist that the exact same gimmick was used four years later when Ms. Crawford journeyed to England to take on the lead in the garishly Technicolored circus thriller "Berserk." If you've seen the latter, you'll know exactly what I mean, so I shall say no more. Except that, without Miss Crawford, both films could have easily come off as camp hoots. That they don't is a tribute to this lady's amazing professionalism. In private life (according to her daughter's memoir), Joan Crawford may have indeed been the mother-from-hell. In movies, however, she commanded the big screen right up to the bitter end. More power to her!

Joan Crawford - the Percepto of 1964!

[jonathan-577 · 7/10 · 17 April 2008]

How's this for a meeting of the minds - Castle, the inventor of "Percepto" and "Emergo" among other classic gimmicks, teams up with "Psycho" writer Robert Bloch to frame his ultimate gimmick: Joan Crawford. She can't really pass muster as a sweet young thing in the opening sequence, but she just has to last till the inciting beheading and then we flash forward 20 years or so to her release from the nut house. Voices follow her, she hallucinates, she has relapses, and random folks around the homestead - including another mind-boggling special effect, a YOUNG and less than chubby George Kennedy - are meeting the business end of the hatchet. But oh, we hardly suspected what might be going on, and after the truth is revealed in action, it is explicated at length in an absolutely preposterous wrap-up scene that one can only hope was grafted on "Ambersons"-style - though "Psycho" does seem to indicate a Bloch affinity for such devices. Before that howler we are treated to a different kind of camp - somewhat predictable, but high-energy, flamboyant and fun in spite of it.

Gore Mongral Movie Review: Strait-Jacket

[ChiefGoreMongral · 7/10 · 28 August 2006]

Strait-Jacket(1964) a film starring Joan Crawford as a woman who comes home to find her husband getting busy with another woman. Joan snaps and kills both her husband and his mistress with an ax all to the watching eyes of her daughter who at the time was only 4 or 5. Fast forward 20 years and Joan's character is considered reformed and sent to stay with her daughter her brother and his wife. The rest of the movie revolves around deaths that occur at the house and if Joan's character is to blame or someone else.

This is a pretty cool flick all around as it has an ax wielding psycho Joan Crawford, Leif (Invasion from Mars) Erickson and George (Breath Assure) Kennedy giving us a very "heady" performance. It also has some sequences for its time that would have probably made the teeny boppers of the era squirm up to their man in the theater.

All in all I think this is one of those films that if your a horror/thriller fan you owe it to yourself to at least check out once as it does what is trying to do effectively even though you can see the end coming before you get there. With the characters all in place and an interesting story I give Joan's Ax Wielding flick: 7/10 good.

Strait-Jacket is out now on Tri-Star DV. Definitely give it a go!!!

Until next time folks here is a tip: If your married and you want to cheat on your wife make sure you leave the ax locked up real tight in the shed cause if you don't you could lose more than your money if she catches you!!!

I'm out!!

Lucy Harbin took an axe, gave her husband 40 whacks ..

[hitchcockthelegend · 8/10 · 13 October 2011]

..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 Guignol

It 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

Excellent little shocker from William Castle!

[The_Void · 7/10 · 28 November 2006]

William Castle is best known for fun, gimmicky horror flicks the likes of The House on Haunted Hill and The Tingler; but his resume features some more complex films that can comfortably sit alongside the best B-movies of the sixties, and Straight-Jacket is one such film. Obviously, a film of this nature relies heavily on its lead star; so it's a good job that this one benefits from a great leading performance courtesy of the fabulous Joan Crawford. Crawford isn't as good here as she was two years earlier in Whatever Happened to Baby Jane, but she approaches her role with seriousness, and it gives the film a sense of credibility not often associated with this type of film. The plot takes obvious influence from Psycho, and focuses on Lucy Harbin. She was sent to an asylum after she discovered her husband in bed with another woman, and proceeded to axe them both to death. She is released twenty years later, still on the brink of sanity, and is reunited with her daughter Carol (who was present at the murder) and discovers that she is engaged to be married.

The tagline, which states that the film 'vividly depicts axe murders' isn't exactly true, and the film is not very shocking in today's day and age. However, this would obviously have been different back in 1964, and despite no real money shots; Castle gives his film a great macabre atmosphere, and this adequately provides the horror on its own. Crawford gets a great support cast to work with, and again the film transcends its B-movie heritage as they're all extremely good. Diane Baker, Leif Erickson and my personal favourite, George Kennedy, all manage to give stand-out performances behind the leading lady. The film opens up with a great little sequence which shows why the lead character was sent to the asylum, and although the plotting takes a downturn after that; Castle manages to keep things interesting all the way down to the explosive ending. The final plot twist isn't exactly impossible to figure out, but I have to say that it caught me by surprise and while not everything completely makes sense by the end, Castle does a good job of implementing the twist. Overall, Homicidal and Mr Sardonicus still top my list of favourite William Castle films, but Straight-Jacket isn't far behind and comes highly recommended!

Who says Castle couldn't direct?!?

[David-240 · 10/10 · 7 November 1999]

This is one of the most enjoyable horror films ever. The closing credits gag reveals the spirit of the picture - it is not to be taken seriously. By the way don't spoil a great laugh by reading what that gag is, in the "crazy credits" section. This is pure camp fun, played brilliantly by Joan Crawford in an Oscar worthy performance. The opening narration is hilarious - and Joan's get-up (black fright wig, clinging floral dress and clanging bangles) is outrageous. You'll probably guess the surprise ending - but that's not what this film is about. Besides the fun element there is also a subversive political statement - Castle sets his axe-murder horror on a sweet little farm, that looks like a set from a family sit-com. And the family that live in it are too good to be true as well. But all this is a facade, as insanity, lust and murder lie just below the surface.

Also of note in the cast are George Kennedy - excellent as the twisted handy-man, and Diane Baker as the perfect daughter. And apparently that's Lee Majors being hacked up at the start of the film. Castle does a brilliant directing job, but it's Joan's film all the way - what she can do with knitting and matches is truly amazing! And the scene where she attempts to seduce her daughter's boyfriend is nothing short of magic. I can't believe that an actress who could play this scene with such good humour, could have taken herself as seriously as "Mommie Dearest" suggests. Do not miss this over-looked classic.

She Was All Woman...And Knew It

[evanston_dad · 7/10 · 7 September 2006]

And so with those words begins this wacked out slasher film/murder mystery that shows Joan Crawford lopping off the heads of her husband and his girlfriend while they lie in post-coital repose -- and that's before the opening credits have even started!

"Strait-Jacket" has the look and feel of "What Ever Happened to Baby Jane?" and all of those other exploitative films from the 1960s that put once-great declining actresses in campy schlock and let audiences howl at them. But somehow, this movie doesn't feel exploitative. If Joan Crawford had delivered a bad performance, it would have. But she tackles the role with such seriousness and commitment that she single-handedly ends up selling the film to you, and making you genuinely care about her character and what happens to her. Joan Crawford may have been hell to live and work with in her personal life, but it takes an actress with a unique skill to make a film like this not only competent, but almost fascinating.

As for the movie itself, it's laughably predictable. I called the "surprise" ending about fifteen minutes into the film, and then talked myself out of it because I thought it would be too obvious. Well, I should have stuck to my guns, but it didn't much matter -- by the end I was no longer watching the film for the ending -- I was watching it for Joan, which is the only reason (albeit a damn good one) for watching this film at all.

Grade: B

Camp classic. Great!

[max-crack · 9/10 · 22 July 2005]

This film is an out-and-out camp classic, and Joanie's finest hour post-"Baby Jane". After she had pulled out of "Hush Hush Sweet Charlotte", canny shlockmeister William Castle signed Joan up to play a demented matriarch character in this campy horror-shocker and she did not disappoint.

According to Castle's autobiography, Miss Crawford was actively involved in the production at several levels, herself supervising rewrites of the script, changing the supporting cast to her liking and also choosing the unlikely wig and costumes for her character. And from her first scene, getting off a train (in high heels!), to the final showdown with her bad-girl daughter character, Joan's performance here is pure class.

Watch for the famous cardboard axe in shadow and a hilarious cat fight with her daughter who literally throws herself on the bed and squeals. But don't poke fun: it might be verging on farce, but this is a tight, pacey film with some good direction and camera-work. The overhead shot of Joan losing it in the tiny closet with the NASTY striped wallpaper is worth the price of admission alone.

Recommended.

A tremulous Queen Bee...

[moonspinner55 · 7/10 · 22 October 2006]

Joan Crawford, the Arched Eyebrow Queen of Melodrama, is surprisingly vulnerable throughout most of this thriller involving a former axe murderess who gets released from the sanitarium and tries to make peace with her estranged daughter (Diane Baker), now a pretty twentysomething living on her uncle's farm. Curiously, Crawford thought little of this movie, yet she's quite good in it: shaky, confused, and yet hopeful, she has a great scene telling off her future in-laws and I was right there on her side. Despite the obvious camp appeal--and Crawford's penchant for baubles, bangles and beads--it's a creepy character-study about insanity (not quite a horror flick, although a genuine thriller) and the stark black and white photography and eye-popping design gives "Strait-Jacket" a terrific look. Superb supporting turns, particularly by Baker, help make this William Castle outing one of his best screamers from the 1960s. *** from ****

I think I'm going out of my head...over Joan Crawford

[LCShackley · 5/10 · 2 April 2009]

Joan Crawford had quite a career, starting as a stunning siren in the silents. By the 1960s, she was reduced to playing caricatures of herself, or ghouls, as in this William Castle thriller.

Robert "Psycho" Bloch penned this slasher film, about a jealous woman who spends 20 years in an asylum after she "took an axe and gave her husband 40 whacks...and gave his girlfriend 41." She's finally released to the custody of her brother and his wife, and her long-lost daughter (who witnessed the murders as a child).

It's not hard to guess how it's going to end, but it's kind of fun watching it all spin out, with a few beheadings along the way to keep one's interest. The early scenes where the daughter shows Joan around the farm are priceless (as she keeps tripping up when talking about slaughtering animals), as are the various foreshadowing scenes involving knives. George Kennedy plays a gruff and creepy farm hand, beheading a chicken. Keep your eyes open for Lee Majors in his first screen role (as the #1 axe victim). And watch for the Pepsi product placement, thanks to Joan's contract (she was on the Pepsi board).

Joan gets to run the gamut here, from mad slasher to timid wallflower to over-the-top vamp. It's all hokey and hackneyed, but enjoyable for fans of Joan Crawford or William Castle.

Better than most

[fuzzy_patters · 7/10 · 29 October 2009]

I was expecting this to be another cheesy Castle flick. It would be entertaining but nothing memorable. However, this film was much better than the rest of Castle's films. The direction of the ax sequences was superb. You are constantly expecting the ax to drop, but it just never does. You can definitely see the influence that this film as had on horror films from Halloween to date.

Of course, I would be remiss if I did not also mention that having Crawford and Baker in the cast made it a much better acted film than most of Castle's as well. Crawford's ability to move from mood to mood with her character was mind boggling. It was almost like she was playing three or four different characters in the same film. Baker was beautiful and played really well off of Crawford. For a horror film, this was actually a very good movie.

Joan Crawford vehicle in which she is released from an asylum where she was sent for twenty years for a crime

[ma-cortes · 7/10 · 13 October 2020]

Chilling and creepy recital for Joan Crawford giving one of the best interpretations as a convicted axe murderess for axing her husband and his loving mistress . Once released returning home after 20 years at an insane asylum , where it appears she was restored to sanity. At home Lucy Hardin meets her grown-up good daughter , Diana Baker , and her handsome boyfriend : John Anthony Hayes , about to get married .Then mysterious axe murders begin ocurring in the neighborhood and aging Joan Crawford results to be the prime suspect . Warning , Strait-jacket vividly depicts axe murders ¡.

Moderately eerie B chiller and slasher movie is impressively lifted thanks to Joan Crawford, including interesting and thrilling script by Robert Bloch of "Psycho" with plenty of twists and turns .Genuinely frightening movie features one of Crawford's most awesome acting , as well as restrained performances . Furthermore , a young George Kennedy is almost as good in an early character as a farm hand. While Diane Baker plays the good-natured daughter who cares and controls her allegedly nutty mummy . Other secondaries intervening are as follows : Leif Erickson as Lucy's brother , John Anthony Hayes as the good-looking sweetheart , Rochelle Hudson, Howard St John , and brief appearance by Lee Majors as unfortunate hubby .

The motion picture was competently directed by William Castle, an expert director well known for his surprising Gimmicks that had large reception for the general public , though his films were panned by critics . Never one to miss a gimmick , director Castle managed for the distribution of cardboard "Bloody Axes" to all theatre patrons attending the film . William Castle was a prolific writer, producer and director with considerable success. In his begining he directed thrillers , Noir , Drama and Westerns in low budget , such as : The Law rides again, Conquest of Cochise , Americano and getting his greatest successes shooting efficient Chillers and Terror movies, such as : House on Haunted Hill, The Tingler , 13 Ghosts , Mr Sardonicus , Homicidal, Zotz ¡ , The Night Walker and this Strait-Jacket. Rating : 6.5/10. Better than average Chiller . The picture will appeal to Joan Crawford fans and horror aficionados .

Mommie Dearest Makes Her Mark In This Mother/Daughter Story Of Madness

[xyzkozak · 6/10 · 28 March 2014]

Written by Robert Bloch (who also wrote Psycho), this story of hateful revenge, mother/daughter madness and psycho axe-murders, was axe-ually quite an effective and compelling little b-movie that proudly lived up to William Castle's reputation for delivering sensational thrills on a less-than-sensational budget.

I certainly give all of the actors in Strait-Jacket plenty of credit for their credible character portrayals. There wasn't a single insincere performance in the lot.

Besides Joan Crawford's intense role as the tragically mad woman who's now been released from an insane asylum after a 20-year sentence - I give a special nod of recognition to George Kennedy who played Leo Krause, the filthy, callous farm-hand who seemed to enjoy (for the benefit of others) heartlessly slaughtering the farm animals with the aid of his trusty axe.

At the time of this film (1964), Joan Crawford was on the Board of Directors at Pepsi-Cola. And because of that this film contains (in one scene) a clear placement of that company's product for all of the viewers to plainly see. (From the absolute bottom of my heart (snarl! snarl!), I "Thank you", Joan Crawford, for being one of the very first to start this truly unwelcome trend that still continues in movies to this very day)

As a somewhat comical, twisted, tongue-in-cheek trivia note - The viewer will notice that, at the very end of the picture, when the famous Columbia Pictures' icon (the classic woman holding a torch) appears on screen, she is now shown as being headless, with her noggin noticeably sitting down at her feet.

All-in-all - Strait-Jacket's gore may be decidedly laughable when compared to the gruesome standards of today, but as a wacky (or should I say "whacky"?) mother/daughter madness/murder story, it certainly didn't let me down.

I can't possibly sum this up. Just watch it.

[sadie_thompson · 10/10 · 3 January 2000]

I am redoing this review--I did the original one five years ago and I think I can top myself. I rated this movie as "excellent" and I am going to explain why I rated it so darned highly.

Isn't Joan Crawford the coolest? Some people jokingly call this movie "Blanche's Revenge" as Joan eschewed the wheelchair of "Baby Jane" and replaced it with an axe. (It would have been really nifty if she'd been an axe murderer and in a wheelchair. That would have kicked tail.) This movie was made in 1964, and William Castle was attempting to better his reputation--he was known for scaring people, but I think he really wanted an A-movie to his credit. After seeing "Baby Jane" he decided that using a bona-fide star might help him in his plan, and he pitched Robert Bloch's "Strait-Jacket" story to Joan Crawford. Lucky for him she agreed to do it, and he earned a little critical recognition for a change.

The plot is simple enough--Joan Crawford plays Lucy Harbin, a "young" woman of "29" who witnesses her husband cheating on her with a former girlfriend. The shock of being thrown over drives her to madness, and she dispatches both her husband and the hussy while they sleep. The couple's three-year-old daughter Carol watches, horrified, and Castle cuts (get it?) to another shot of the daughter, now grown. She's telling her fiancée about her past because, as she abruptly puts it, "My mother's coming home from an asylum. Today." That line kills me--she gave him so much time to prepare, huh? Once Lucy returns Carol begins going to great lengths to turn the present-day Lucy into the Lucy of twenty years earlier. Obviously, that isn't such a hot idea because Lucy was a murderess. Even more distressing, Lucy gives several indications that she isn't completely rehabilitated--when the asylum doctor shows up to say hello, she wigs out completely and runs screaming from the room. Eventually, anyone and everyone who discovers Lucy's imbalance gets offed. Is Lucy regressing or has she been usurped? That is the basis of the movie's "surprise" ending, which I of course didn't figure out. (My mother did, but she always does.) Okay, so why is this movie so entertaining? If you guessed Joan Crawford, you guessed right. William Castle's idea works wonderfully. He chose someone who would give her all to make sure a movie worked, and that's what happens. At the time, Joan was sixty years old, give or take a few, and she throws herself into the role of a 29-year-old with gusto. (She doesn't succeed, but she tries.) Her character starts out as a brunette, brazen floozy-type and ends up a gray-haired timid middle-aged woman. It doesn't seem like such a big difference on paper, but when you see the difference between Joan's first and second entrances it's quite effective. Also, who among us knew (besides Christina Crawford, apparently) that Joan could swing an axe like that? Move over Lizzie Borden, Joan's on the warpath! And the "seduction" scene with daughter Carol's fiancée? I don't think a movie has ever made me squirm so much. It's horrible, but you can't look away--Lucy goes through about fifteen emotions in less than fifteen minutes. Just thinking about it makes me feel icky, and nothing really happens. That's the weird part--nobody does much of anything, but it's so damn disgusting. (The DVD features a little making-of featurette, and one of the film historians says in a awed tone, "She actually puts her finger in his mouth." I guess it bothered him too!) If I had to choose the one part of this movie that raises it over other movies of its ilk, it would be the first murder scene. The moment where Lucy, poisoned with anger and wielding an axe, wreaks havoc on her sleeping husband. I just feel that a jealousy-crazed woman brutally murdering her husband would have the same look on her face as Joan does in the scene. It's absolute blind rage and she has no control over it. To be blunt, she looks like an insane killer and she is more than a little creepy doing it. I just thought of another great part--at the end of the picture the Columbia Pictures lady has been beheaded. Cute little touch, huh?

Better Than Expected

[Lechuguilla · 26 February 2011]

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.

Predictable Thriller

[claudio_carvalho · 7/10 · 20 May 2012]

When Lucy Harbin (Joan Crawford) arrives earlier from a trip, she sees her husband with his mistress sleeping in her bed and she kills them with an ax. Her little daughter Carol witnesses the murder.

After twenty years in an asylum, Lucy is released by her Dr. Anderson (Mitchell Cox) and her brother Bill Cutler (Leif Erickson) brings her back to her farm where he lives with his wife and Carol (Diane Baker). Lucy meets her estranged daughter and she learns that she is going steady with the wealthy Michael Fields (John Anthony Hayes). Sooner Lucy has nightmares and hears children singing a pejorative song about her.

When Dr. Anderson unexpectedly visits her at home, she shows that she is unbalanced and the doctor decides to take her back to the asylum. However he is axed in the barn. Is Lucy killing again?

"Strait Jacket" is a predictable thriller by William Castle with Joan Crawford, who has a great performance as usual. It is not difficult to guess who the killer is, and the conclusion gives a satisfactory motive. My vote is seven,

Title (Brazil): "Almas Mortas" ("Dead Souls")

Psycho in Strait-Jacket

[andrabem · 8/10 · 6 April 2007]

"Strait-Jacket" tells this story: Lucy Habin (Joan Crawford) surprises her husband with another woman. She falls into madness and kills them both, and her daughter sees everything. After spending 20 years in an asylum, she's is considered recovered and released. She leaves the asylum and goes to live with her daughter. Very simply told this is just the introduction of the film. The rest you can guess but maybe you'll guess wrong. I said maybe.

This is an interesting film. It is deceivingly naive but those able to go beyond the story will make their own discoveries. For one thing: "Strait-Jacket" was filmed in 1963 when society was more conservative - social rules and divisions were much more rigid then. There were mainly two choices (especially in small towns and rural areas) - either adapt to society and its straight-jacket or else be an outcast. Why am writing this? Because this is one of my readings of the film.

Anyway "Strait-Jacket" is a good thriller (not so much for the scares but rather for the atmosphere). Well, it hasn't the sophistication of some film noirs of the 40s and 50s but its charm resides in its simplicity not deprived of sense of humor. Joan Crawfords acting is of course superb and the supporting cast does also a good job. The story is interesting and will keep your attention till the end.

I've seen 2 other Castle films ("The Tingler" and "House on Haunted Hill") - both of them funny and entertaining, but I think that "Strait-Jacket" is the best one - it is not so amateurish and goes deeper than the other ones, but still preserves the light touch characteristic of William Castle. There are surprises in store. Go for it!

For whom the axe swings

[TheLittleSongbird · 7/10 · 21 February 2020]

Have appreciated horror/thriller for a long time now and the idea sounded intriguing. When Joan Crawford was at her best, she was brilliant and was one of the best actresses of her time in my view. William Castle was known for making low budget films quickly, but actually that didn't mean he couldn't direct ('House on Haunted Hill' proves that). Expectations though were mixed, with it being a failure on release, opinions here being either camp classic or schlock and that it was made during Crawford's twilight period.

'Strait-Jacket' for me was surprisingly good. It is not quite a classic, though it is certainly camp in a very entertaining way, but it is not schlocky either. In my view, it is one of Castle's better films (not just of this period but overall) and one of Crawford's better 60s films in a decade that really didn't see her or her film choices at her best. Her performance here is also one of her best of her twilight period, her last "great" film being perhaps 'Whatever Happened to Baby Jane'.

Is 'Strait-Jacket' perfect? No, a long way from being so. The script is too exposition-heavy, which does affect the pacing in the middle, and the camp level of a lot of it reaches extremes. The ending can be seen from miles away and is pretty absurd.

Also found the score rather shrill and that attempted seduction unnecessary and unintentionally creepy.

Crawford however gives it absolutely everything and is quite thrilling to watch. Diane Baker does innocence without being too passive and conveys the horror of the situation later well without being histrionic. George Kennedy can also be seen in a subtle yet unsettling role. Castle's direction is more than competent with a keen eye for atmosphere and doesn't resort to too many gimmicks.

With exception of the odd hokey special effect, 'Strait-Jacket' looks surprisingly good for low budget. The photography and lighting being very atmospheric and creepy-looking. The story is mostly very entertaining to watch and has some very suspenseful moments, the murders (especially the shocking, for the time it certainly was, onscreen one) being enough to make one to be go off axes forever.

To summarise, not a great film and one can understand as to why it was a failure at the time (Crawford herself was not positive about it), but did find myself enjoying it quite immensely. 7/10

Classic Crawford

[amhnorris · 8/10 · 1 June 2003]

Wow, where to begin with 'Strait-Jacket'? First of all, people who aren't keen on either Crawford or 60's horror movies shouldn't, and probably wouldn't, bother with this in the first place. That being said, its great fun. Joan Crawford is the film's main - perhaps only - asset. Crawford is considered by many now as a camp icon. This does her a great disservice because it undervalues her talents as an actress. Quite simply, she was the greatest (female) movie star. One of the best - and paradoxically saddest - things about Crawford was that whatever she was in, she always gave maximum efforts to her performance. This is sad because a movie like this isn't really worthy of the depth that she adds to the character. Adding Mildred Pierce-level emotion to 'Strait-Jacket' is almost tragic to watch if you think about how her career had gone. One of the trademarks of a truly great actor is the ability to rise above the material, and Crawford certainly does this here, cranking up the acting-ometer up to 150.

'Strait-Jacket' certainly compares well with others in its genre. Personally, I found it a lot more enjoyable that 'Whatever Happened...' perhaps because Bette Davis wasn't in it. It may not have the subtext of 'Baby Jane' or 'Lady in a Cage' but, no other words to really explain it, it is simply more fun to watch.

"Lucy Harbin took an axe and gave her husband forty whacks"

[richardchatten · 7/10 · 1 July 2022]

A William Castle production made with his usual taste and restraint that concludes with a denouement outrageous by even his standards (SLIGHT SPOILER COMING:), but if you've ever previously seen anything by him Whodunnit is always incredibly easy to figure out, since it's always the one it couldn't possibly be.

(EVEN SLIGHTER SPOILER COMING:) And the final sight gag involving the Columbia lady is a blast!

A full throttle plunge into dementia!!!!

[tamstrat · 4/10 · 16 May 2005]

For die-hard Crawford fan's this movie is an absolute hoot!!!! To see our gal Joanie decked out in the horrible wig with bangs to the jangling bracelets, it's a camp classic. Joan plays a woman who catches her young husband in bed with another hoochie and murders them both with an AXE and is sent to the loony bin for a number of years. The fun starts when she is released and guess what, you got it, axe murders start up again, imagine that????? Only Crawford could deliver banal lines with a completely straight face and she does give it her all, but the movie is just too silly to be taken seriously. Please watch it if you are teetering on the brink of insanity.