While she scored better in 1964 with a Tennessee Williams like heroine in "Hush, Hush Sweet Charlotte", Bette Davis also shined with dual roles (for the second time in her career) in this update of the type of film she had been appearing in for 20 years. Having played rivals of sisters, cousins and old acquaintances of such divas as Olivia de Havilland, Mary Astor and Miriam Hopkins, she now finds the toughest competition of them all-herself! A re-tread of "A Stolen Life" (where she also played two twins, one good and one bad), here the rivalry is one more evenly matched. Maggie is a wealthy widow with many secrets; Eadie is the well-liked owner of a pub in a poor section of Los Angeles where she is known for giving hand-outs to those less fortunate than herself. (And believe me, she is not so fortunate, so this is supposed to tell us that she is extremely kind hearted). When she goes to the funeral of her sister's husband (who happened to be the love of her life), all the old resentments come out, and Eadie decides to play just like her to get even for all the past hurts. Those include man-stealing and lying, especially about what caused the late husband to marry Maggie in the first place.
Davis is convincing in making us believe the differences between each of the sisters. Neither is alike in common characteristics. Davis fans will be amused by the wealthy Maggie's declaration that she quit smoking years before while Eadie puffs like a locomotive. It is the poor but resourceful Eadie who gets the upper hand, taking over her sister's life and discovering that Maggie had a few horrifying secrets of her own that render her actually quite evil.
As the police officer in love with the simple living Eadie, Karl Malden is excellent, her down-to-earth protector who is awestruck when he meets "Maggie" after Eadie has assumed her life. Peter Lawford is the hideously sleazy gigolo lover of Maggie's who guesses the truth and uses it to his advantage, his life eventually literally going to the dogs. A religious freak in-law played by Estelle Winwood, a pre-historic looking butler played by Cyril Delavanti and a gossipy socialite played by Jean Hagen round out Maggie's social set, with director Paul Henreid's real-life daughter playing Maggie's suspicious maid.
Davis helps the plot rise above the obviousness of it, especially with how she arranges to switch lives, something too delicious to spoil. The result shows how an apparent kindly woman can turn to ruthlessly evil when pushed to the edge. While Davis is matronly looking as both characters, she makes you realize that neither character is someone that you'd want to mess with. Thanks to her performance, this film rises above predictability and silliness and is totally satisfying with a delightful denouncement at the ending.
Davis is convincing in making us believe the differences between each of the sisters. Neither is alike in common characteristics. Davis fans will be amused by the wealthy Maggie's declaration that she quit smoking years before while Eadie puffs like a locomotive. It is the poor but resourceful Eadie who gets the upper hand, taking over her sister's life and discovering that Maggie had a few horrifying secrets of her own that render her actually quite evil.
As the police officer in love with the simple living Eadie, Karl Malden is excellent, her down-to-earth protector who is awestruck when he meets "Maggie" after Eadie has assumed her life. Peter Lawford is the hideously sleazy gigolo lover of Maggie's who guesses the truth and uses it to his advantage, his life eventually literally going to the dogs. A religious freak in-law played by Estelle Winwood, a pre-historic looking butler played by Cyril Delavanti and a gossipy socialite played by Jean Hagen round out Maggie's social set, with director Paul Henreid's real-life daughter playing Maggie's suspicious maid.
Davis helps the plot rise above the obviousness of it, especially with how she arranges to switch lives, something too delicious to spoil. The result shows how an apparent kindly woman can turn to ruthlessly evil when pushed to the edge. While Davis is matronly looking as both characters, she makes you realize that neither character is someone that you'd want to mess with. Thanks to her performance, this film rises above predictability and silliness and is totally satisfying with a delightful denouncement at the ending.