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.
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.