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Strait-Jacket
Theatrical release poster
Directed byWilliam Castle
Written byRobert Bloch
Produced byWilliam Castle
StarringJoan Crawford
CinematographyArthur E. Arling
Edited byEdwin H. Bryant
Music byVan Alexander
Color processBlack and white
Production
company
William Castle Productions
Distributed byColumbia Pictures
Release date
  • January 8, 1964 (1964-01-08)[1]
Running time
93 minutes
CountryUnited States
LanguageEnglish
Box office$2,195,000 (rentals)[2]

Strait-Jacket is a 1964 American psychological horror film directed and produced by William Castle, written by Robert Bloch and starring Joan Crawford. Its plot follows a woman who, having murdered her husband and his lover 20 years prior, is suspected of a series of axe murders following her release from a psychiatric hospital.

Released by Columbia Pictures in January 1964, the film was the first of two written for Castle by Bloch, the second being The Night Walker (1964). It was promoted with the tagline "Keep saying to yourself - It's only a film... It's only a film... It's only a film...".[citation needed]

Plot

[edit]

Lucy Harbin has a solution for adultery—an axe. When she finds her husband in bed with his lover, it's off with their heads. Unfortunately, Lucy's three-year-old daughter, Carol, witnesses the deed. Lucy is tried and judged criminally insane. She spends the next 20 years at a mental institution, which is how long it takes for her to regain emotional stability. Upon her release, Lucy moves in with her brother and his wife on their farm. There, she is reunited with daughter Carol, who is now an artist and sculptor and dating Michael, the richest young man in town.

Carol attempts to create a bond with her mother, but Lucy is troubled by dreams and flashbacks of her horrific act. She envisions lying in bed with the severed heads of her two victims. One day, Dr. Anderson, her psychiatrist back at the asylum, comes to visit Lucy. The encounter proves too much and experiences a breakdown. The doctor now questions the institute's decision to release her. Shortly after, the doctor's body is found dismembered in the barn. Lucy fears she may have chopped up the doctor during one of her traumatic flashbacks. Daughter Carol attempts to hide the doctor's car but is blackmailed by the farm's meddling handyman. A short time later, he is found decapitated.

One evening, Lucy and Carol visit Michael and his parents for dinner. It is not a happy affair. Michael's mother believes Carol is unfit to marry her son and says so. In a rage, Lucy storms out of the house, pursued by Carol and Michael, leaving Michael's parents alone in their home. Later, while in his closet, Michael's father is butchered. Michael's mom is subsequently confronted by the killer, who is wearing a latex mask that resembles Lucy's face. Lucy herself then enters, having returned to the house. Lucy fights and subdues the killer. She removes the mask, revealing the murderer. It is Carol. She admits to the killings, having been motivated by greed. Carol had hoped to murder Michael's parents and frame Lucy, enabling her to marry Michael. In the film's ironic finale, Lucy prepares to visit Carol in the same psychiatric hospital where she was once confined.

Cast

[edit]

Strait-Jacket featured the first big-screen appearance of Lee Majors in the uncredited role of Frank Harbin, Lucy Harbin's husband, seen in the opening minutes of the film.[3] Patricia Crest, the actress who plays Stella, is also uncredited.

Production

[edit]

Development

[edit]

After the success of What Ever Happened to Baby Jane? (1962), Joan Crawford and other older actresses, including Bette Davis and Barbara Stanwyck, appeared in many horror movies throughout the 1960s. Strait-Jacket is one of the examples of the genre sometimes referred to as psycho-biddy, hagsploitation or Grande Dame Guignol.

Casting

[edit]

Crawford replaced Joan Blondell in the role of Lucy Harbin after Blondell was injured at home prior to shooting and could not fulfill her commitment. Crawford's negotiations included script and cast approval, a $50,000 salary, and 15 percent of the profits. Anne Helm, who was originally cast in the role as Carol, was replaced by Diane Baker, reportedly at Crawford's insistence. Baker and Crawford had appeared together in the film The Best of Everything (1959). Baker said that Helm had problems with Crawford. According to Baker, speaking on the “making-of” featurette on the DVD release, Crawford had said, "it wasn't working out, her timing was off, she wasn't getting it, she wasn't seeing eye-to-eye, or she wasn't working the way Crawford wanted to work".[4]

Promotion

[edit]

During the film's original release, moviegoers were given little cardboard axes as they entered the theater. At the end of the closing credits, the Columbia logo's torch-bearing woman is shown in her traditional pose, but decapitated, with her head resting at her feet on her pedestal.

Reception

[edit]
Drive-in advertisement from 1964.

The film received mixed reviews from critics, while most praised Crawford's performance; the general critical consensus being that she was better than the material. Variety noted, "Miss Crawford does well by her role, delivering an animated performance." Judith Crist commented in the New York Herald Tribune that "it's time to get Joan Crawford out of those housedress horror B movies and back into haute couture...this madness-and-murder tale...might have been a thriller, given Class A treatment." Elaine Rothschild in Films in Review wrote: "I am full of admiration for Joan Crawford, for even in drek like this she gives a performance."[5]

Bosley Crowther, however, wrote a scathing review of both the film and Crawford's performance in The New York Times, declaring: "Joan Crawford has picked some lemons, some very sour lemons, in her day, but nigh the worst of the lot is "Strait-Jacket". He goes on to call the film a "disgusting piece of claptrap."[6] Richard L. Coe of The Washington Post also hated the film, calling it "likely to stand as the worst picture of the year ... Apart from the absurdity of the plot and the chilling predictability of lines and situations, 'Strait-Jacket' is inexcusable for its scenes of violence."[7]

The film is listed in Golden Raspberry Award founder John Wilson's book The Official Razzie Movie Guide as one of The 100 Most Enjoyably Bad Movies Ever Made.[8] The film also maintains an 88% rating on review aggregation website Rotten Tomatoes, based on 8 reviews.[9]

Assisted by Castle's promotion gimmicks, including in-person appearances by Crawford, the film was a big hit,[10] making in 2019 adjusted grosses $60.8 million at the American box office.[11]

Home media

[edit]

Strait-Jacket was released on Region 1 DVD on March 12, 2002. On February 4, 2014, it was re-released on Region 1 DVD as part of the Sony Pictures Choice Collection online program.

Shout! Factory released the film on Blu-ray on August 21, 2018. Mill Creek Entertainment also released the film along with Berserk! on a double feature Blu-ray on October 2, 2018.[12]

Legacy

[edit]

An excerpt from the film is seen on TV in the 1994 John Waters film Serial Mom.

At the conclusion, the Columbia logo is seen decapitated (with her head resting at its base, near her feet) as a tongue-in-cheek ode to the film's axe murder theme.

The promotion of Strait-Jacket by the studio, the director and Crawford are addressed in the episode "Hagsploitation" of the 2017 television miniseries Feud.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Strait-Jacket

View on Grokipedia
from Grokipedia
Strait-Jacket is a American film directed and produced by , written by , and starring in the lead role as Lucy Harbin, a woman released from a mental institution after serving 20 years for the axe murders of her husband and his mistress. The story centers on Harbin's return to her estranged daughter Carol () and the subsequent outbreak of brutal axe killings in their rural community, raising suspicions about Harbin's sanity and possible relapse into violence. Running 89 minutes and classified under genres of drama, horror, and thriller, the film features a supporting cast including Leif Erickson, , and , and is noted for its tense atmosphere, graphic violence for the era, and Crawford's intense, committed performance as a potentially unhinged matriarch. Produced by William Castle Pictures and distributed by , Strait-Jacket was inspired by the success of Alfred Hitchcock's Psycho—also scripted by Bloch—and incorporates Castle's signature promotional gimmicks, though none as elaborate as his previous works like "Percepto" shocks. Upon release, it received mixed but was praised for Crawford's acting, and it has since gained a as a campy proto-slasher in the horror genre.

Background

Synopsis

The film opens with a prologue depicting Lucy Harbin discovering her husband in bed with another woman; in a fit of rage, she grabs an axe and decapitates both of them, committing the murders in front of her three-year-old daughter, Carol, who witnesses the horror. Declared legally insane, Lucy is committed to a mental institution for 20 years. Twenty years later, Lucy is released and returns to the family farm, where she reunites with her now-adult daughter Carol, an aspiring sculptor engaged to wealthy Michael Fields, the son of prominent physician Dr. Raymond Fields from a wealthy . Carol, eager to help her mother readjust, provides Lucy with a glamorous 1940s-style , including a black wig and elegant , which awakens echoes of Lucy's pre-institutionalization . However, Lucy soon grapples with resurfacing instability, plagued by guilt over her past and hallucinations such as appearing in her bed. As tensions rise on the farm—shared with Lucy's brother Bill Cutler and his wife —a series of axe murders begins, eerily mimicking Lucy's original crime: the family dog is killed, followed by a farmhand who makes unwanted advances toward Lucy, and then her visiting psychiatrist, Dr. Anderson. Suspicion mounts against Lucy, especially after she reacts violently at a meeting with the Fields, who question her fitness for society; she is subsequently restrained in a during an episode. The murders escalate with the of one of Carol's sculptures—a doll-like figure—further implicating Lucy. In a shocking revelation during a courtroom-style hearing, it emerges that Carol is the true perpetrator, disguising herself with her mother's and coat to commit the killings and frame Lucy. Driven by deep-seated resentment toward her mother for the and greed for the tied to her to the affluent Michael Fields, Carol has psychologically manipulated events to eliminate perceived threats to her future. When confronted, Carol attempts to murder Lucy with the axe but is subdued; overwhelmed, she tries to take her own life. Ultimately, Carol is institutionalized, clearing Lucy of the recent crimes, and the family achieves a tentative as Lucy commits to rebuilding her life free from suspicion.

Cast

The principal cast of Strait-Jacket (1964) features in the lead role of Lucy Harbin, a tormented mother and convicted axe murderess recently released from a psychiatric institution after two decades. portrays Carol Harbin, Lucy's estranged adult daughter who harbors deep resentment toward her mother. Leif Erickson plays Bill Cutler, Lucy's brother who runs the family farm with his wife. appears as Raymond Fields, the father of Carol's fiancé and a prominent physician. is cast as Emily Cutler, Bill's wife and Lucy's sister-in-law living on the farm. takes on the role of Leo Krause, the farmhand who makes advances toward Lucy. Notable uncredited appearances include as Frank Harbin, Lucy's young husband depicted in a pivotal flashback sequence, marking Majors' debut. Patricia Crest appears uncredited as Stella Fulton, the lover involved in the same flashback. Crawford's performance in Strait-Jacket represented her return to the horror genre following her acclaimed role in What Ever Happened to Baby Jane? (1962). The ensemble's contributions highlight the film's exploration of familial dysfunction and psychological tension through these key character archetypes.
ActorRoleCharacter Description
Lucy HarbinTormented axe murderess protagonist
Carol HarbinVengeful estranged daughter
Leif EricksonBill CutlerLucy's brother and farm owner
Raymond FieldsFiancé's father, prominent physician
Emily CutlerLucy's sister-in-law
Leo KrauseFarmhand who advances on Lucy

Production

Development

The development of Strait-Jacket began with an original screenplay by , the author of the 1959 novel Psycho that inspired Alfred Hitchcock's seminal film. Bloch was assigned to write the script on February 11, 1963, drawing on his expertise in crafting narratives centered on mental instability, family dysfunction, and shocking twist endings, themes that had propelled Psycho to cultural prominence. William Castle, a prolific and director known for his gimmick-laden horror films, spearheaded the project as both and director, aiming to capitalize on the success of psychological thrillers in the early . The film marked Castle's entry into the emerging "psycho-biddy" subgenre, which featured aging female stars in roles exploring madness and violence, directly influenced by the 1962 hit What Ever Happened to Baby Jane?, a surprise box-office phenomenon that revitalized careers like Joan Crawford's through tales of psychological torment and . Castle's vision for Strait-Jacket positioned it as a vehicle for similar camp-infused horror, emphasizing an ax-wielding protagonist's return to society and the ensuing familial tensions. Announced on January 30, 1963, in Daily Variety as Straitjacket, the production had an initial shooting start targeted for April 1963. Delays pushed principal photography to July 23, 1963, reflecting the genre's growing momentum amid the post-Psycho wave of twist-heavy psychological horrors that dissected domestic unease and repressed trauma. Columbia provided backing for a modest budget of $550,000, enabling Castle to blend Bloch's intricate plotting with his signature showmanship.

Casting

Joan Crawford was cast as Lucy Harbin in mid-May 1963, replacing Joan Blondell, who had been originally hired for the role but was sidelined by an accident that prevented her from working. Crawford, at age 59 and seeking to capitalize on her success in What Ever Happened to Baby Jane? (1962), negotiated a salary of $50,000 plus 20% of the profits, while also insisting on script revisions to emphasize maternal themes and transform the film into more of a star vehicle for herself. She met director William Castle in New York to outline these changes, including demands for approval over co-stars and a rehearsal period before filming. For the role of Carol Harbin, Crawford exerted significant influence by advocating for over the initially selected , who had been cast in April 1963 but was dismissed on the first day of filming, July 23, 1963, amid reported nervousness and lack of chemistry. Helm later claimed in a 2001 interview that Crawford had her fired out of , though production records indicate tensions arose from on-set dynamics; , whose prior roles in films like The Best of Everything (1959) had established her as a rising talent, brought the necessary poise and rapport that Crawford sought for the mother-daughter pairing. Supporting roles were filled through 1963 auditions, with Leif Erickson selected as the romantic lead Bill Cutler for his established presence in Westerns and dramas, providing a stabilizing contrast to the film's intensity. was cast as the Leo Krause, leveraging his growing reputation in supporting parts to add authority to the investigative elements. Challenges emerged from Crawford's advanced career stage and age, as she portrayed a character spanning from 29 to 49 years old, requiring careful makeup and wardrobe adjustments to bridge the gap. Additionally, uncredited newcomer made his screen debut as Frank Harbin, a role secured at the behest of , highlighting informal industry connections in the casting process. Conflicts over co-star chemistry persisted, particularly in early rehearsals, but were resolved through these targeted selections to ensure ensemble cohesion.

Filming

Principal photography for Strait-Jacket commenced on July 23, 1963, and concluded on August 19, 1963, five days ahead of the planned schedule. The production adhered to a compressed timeline typical of low-budget horror films at , allowing for efficient execution despite the demands of practical effects and location work. Filming primarily occurred on the backlots of Columbia Studios in , with approximately one week dedicated to location shooting in , approximately 60 miles east of . Rural farm settings essential to the story were captured at sites including Crestmore Manor in nearby Jurupa Valley, evoking the isolated family homestead. Urban scenes, such as shopping sequences, utilized Riverside's during its mid-1960s commercial peak. Director employed black-and-white cinematography to heighten psychological tension, with frequent use of shadows and tight close-ups on Joan Crawford's facial expressions to convey her character's inner turmoil. The sequences relied on practical effects, including fake blood and prosthetics to simulate wounds, executed within the constraints of the era's low-budget techniques. The production faced logistical challenges from the tight 25-day shooting window, compounded by Crawford's immersive approach, which occasionally generated on-set tension among the cast. Actor George Kennedy's robust physicality proved advantageous in demanding action scenes, contributing to the film's visceral confrontations. Key crew included cinematographer Arthur E. Arling, who brought experience from major productions to craft the film's atmospheric visuals; editor Edwin H. Bryant, responsible for pacing the suspenseful sequences; and composer Van Alexander, whose score utilized dissonant strings and percussion to underscore mounting tension.

Promotion

and producer employed a mix of exploitation tactics and star power to promote Strait-Jacket, capitalizing on the emerging psycho-biddy horror trend following the success of films like Whatever Happened to Baby Jane? (1962). The campaign emphasized the film's graphic axe and psychological terror, positioning it as a shocking thriller written by , the author of the novel Psycho (1959), to draw in audiences familiar with Alfred Hitchcock's adaptation. Key gimmicks included the distribution of miniature cardboard axes to theater patrons upon entry, a playful nod to the film's central motif that evoked Castle's earlier promotional stunts without relying on elaborate in-theater effects. Trailers highlighted Joan Crawford's intense performance, featuring her piercing scream and scenes of axe-wielding violence, while posters prominently displayed the axe imagery alongside the provocative "WARNING! 'STRAIT-JACKET' VIVIDLY DEPICTS AX MURDERS!" to build anticipation for its visceral content. Additionally, the film's end credits altered the logo by depicting the iconic torch lady decapitated, with her head resting at her feet, as a cheeky thematic to the story's violence. Promotion began in late following the completion of filming, with a media blitz that included press junkets and personal appearances at premieres and events across U.S. cities to leverage her enduring fame. Castle himself appeared in trailers, interviewing shocked audience members outside theaters to amplify the film's hype. These efforts exploited the psycho-biddy subgenre's appeal, portraying Crawford as a deranged in a low-budget package designed for drive-in and crowds. The marketing aligned with the production's modest $550,000 cost, focusing on cost-effective tie-ins and print ads that enhanced the film's reputation as an accessible, sensational horror entry rather than a high-production spectacle. This approach contributed to Strait-Jacket's draw as a quick, thrilling diversion in the competitive release slate.

Release

Theatrical Release

Strait-Jacket premiered in the United States on January 8, , distributed by , with its initial opening in theaters as part of a strategy focused on urban markets. The film received the "Approved" from the Production Code Administration, adhering to the standards in effect at the time, though its graphic depictions of violence would align with an R rating under the later MPAA system. The international rollout was limited, occurring primarily in 1964 and 1965, with releases in select European markets including on June 19, 1964. Dubbed versions were prepared for European audiences to accommodate local languages. Promotional tie-ins executed during openings featured sensational advertisements, such as print ads showing wielding an axe, alongside lobby displays emphasizing the film's horror elements.

Box Office

Strait-Jacket earned $2.195 million in U.S. rentals upon its initial release in , placing it among the top 20 highest-grossing horror films of the year according to Variety's annual survey. This performance was bolstered by William Castle's signature promotional gimmicks, such as sensational posters warning of graphic axe murders, combined with Joan Crawford's star power as a draw for audiences seeking campy psychological thrillers. The film faced competition from other notable 1964 horror releases, including , which also capitalized on the era's fascination with aging Hollywood icons in macabre roles. Globally, the achieved an estimated initial gross of $7 million. The profitability was evident from the outset, with rentals exceeding the budget several times over, despite a modest of around $550,000.

Reception

Contemporary Reviews

Upon its release in 1964, Strait-Jacket received mixed reviews from critics, who frequently lauded Joan Crawford's intense performance while faulting the film's preposterous plot and predictable twists. Variety described the film as a "chip off the old Bloch," referencing Robert Bloch's screenplay inspired by Psycho and the case, and praised Crawford for delivering "an animated performance" that effectively carried the role of the unstable mother. The review highlighted admiration for Bloch's grisly setup and suspenseful murder scenes, though it noted some stiffness in director William Castle's handling. Judith Crist of the New York Herald Tribune called Strait-Jacket "an entertaining shocker," appreciating its macabre mother-daughter dynamic and the shocks derived from Bloch's narrative turns, despite subtitling it What Ever Happened to Baby Monster? to underscore its monstrous familial themes. In contrast, Bosley Crowther of dismissed the plot as "preposterous" and the overall production as a "disgusting piece of goods," criticizing its reliance on lurid axe murders and implausible that failed to elevate beyond cheap . Critics often derided the gore effects as unconvincing and cartoonish, with rubbery decapitations and that prioritized shock over realism, contributing to the film's as a B-movie thriller better suited to drive-in audiences than serious horror. Aggregating period critiques, Strait-Jacket holds an 89% approval rating on based on nine reviews, reflecting a consensus that Crawford's intensity overshadowed script shortcomings and uneven production values.

Modern Assessment

In the 21st century, Strait-Jacket has undergone significant reappraisal, with critics and audiences embracing its campy elements and Joan Crawford's exaggerated performance as sources of entertainment value. Reviews from 2018 onward, such as the Rock! Shock! Pop! assessment of the Blu-ray edition, praise the film's shadowy gothic atmosphere and Crawford's over-the-top portrayal of Lucy Harbin as a highlight of unintentional hilarity amid cheap effects. Similarly, a 2025 Ruthless Reviews analysis describes the movie as a "non-stop thrill ride of unintentional hilarity," crediting Crawford's "ham-bone" acting for elevating the B-movie schlock. These modern takes position Strait-Jacket as a "" in William Castle's oeuvre, valued more for its absurd thrills than narrative depth. Audience reception aggregates reflect this shift toward appreciative cult status. On , the film holds a 68% audience score based on verified ratings, indicating solid approval among contemporary viewers. users rate it an average of 3.6 out of 5 from over 12,000 logs, with many reviews noting its campy fun and presence as key draws. These metrics underscore Strait-Jacket's enduring appeal as a mid-tier horror classic, particularly for fans of genre fare. Thematically, modern scholarship recognizes Strait-Jacket as a pioneer in the "psycho-biddy" or Grande Dame Guignol subgenre, influencing later hag horror films through its focus on aging female madness and institutional trauma. Critics highlight unintentional humor in the film's rudimentary effects, such as rubber masks and axe scenes, which contribute to its cartoonish tone. Feminist readings interpret the depiction of maternal madness—Lucy's axe-wielding breakdown and institutionalization—as a exploring gendered trauma and societal constraints on women, rather than mere . Recent visibility has been boosted by a 2025 airing on , which introduced the film to new audiences via and sparked discussions on its B-movie charm. Blog reviews from this period, including The Scare Salon's September 2025 analysis, laud Strait-Jacket as a "Psycho homage" with Crawford's commanding performance amplifying its pulp appeal and genre influence.

Legacy

Home Media

Strait-Jacket was first released on DVD by Columbia TriStar Home Entertainment on March 12, 2002, featuring a standard-definition transfer and supplemental materials including the documentary Battle-Axe: The Making of Strait-Jacket. A reissue followed on February 4, 2014, as a manufacture-on-demand DVD-R from Sony Pictures Home Entertainment, maintaining the original extras but aimed at renewed accessibility for collectors. The film's transition to high-definition came with Shout! Factory's Blu-ray edition on August 21, 2018, under their Scream Factory imprint, offering a restored transfer, an track by film historians Steve Haberman, Constantine Nasr, and David J. Skal, the original theatrical trailer, and the 2007 Battle-Axe documentary. Later that year, Mill Creek Entertainment issued a double-feature Blu-ray with Berserk! on October 2, 2018, providing bare-bones presentations of both films in HD without additional features, emphasizing affordability for fans of Joan Crawford's horror output. In 2024, Orbit DVD released a Region B-locked Blu-ray on May 20, incorporating restored visuals, an by Castle experts Lee Gambin and Emma Westwood, the Battle-Axe documentary, and unique inclusions like European cuts of the film for international audiences. These physical releases highlight ongoing efforts to preserve and enhance the film's presentation, with audio commentaries providing insights into William 's production techniques and Crawford's performance. Digitally, Strait-Jacket became available for free streaming on platforms like starting in the , broadening access without requirements. As of 2025, no 4K UHD edition has been released, keeping high-definition options limited to Blu-ray formats. The film has also seen occasional television airings, such as on , maintaining its cult visibility.

Cultural Influence

Strait-Jacket stands as a seminal entry in the psycho-biddy subgenre of horror cinema, which proliferated in the following the success of What Ever Happened to Baby Jane? (1962) and often featured aging female stars in roles involving psychological unraveling and violence. The film, with portraying a paroled axe murderer grappling with her past, exemplifies the "hagsploitation" trope that juxtaposed mature women against younger characters in tales of madness and retribution, influencing subsequent works like Berserk! () and contributing to the narrative foundations of 1970s slasher films by emphasizing domestic horror and repressed trauma. The movie has been referenced and parodied in later media, underscoring its enduring place in discussions of career and camp horror. In John Waters' (1994), a scene depicts characters watching Strait-Jacket in a video store, nodding to its over-the-top elements as a precursor to satirical true-crime narratives. Similarly, the FX series (2017) prominently features the film in its sixth episode, "Hagsploitation," recreating Crawford's promotional tour for Strait-Jacket and highlighting her desperation for relevant roles in the genre's rise. Iconic elements from Strait-Jacket, such as its graphic axe murders and the titular restraint as a symbol of confinement, have permeated , evoking themes of mental instability in broader media. The film's , which warned audiences of its "vivid" depictions of , amplified these images during its original release. Director William Castle's promotional gimmicks for the film, including live appearances and theatrical warnings, pioneered interactive horror experiences that inspired modern tactics, such as immersive events and audience participation in franchises like The Conjuring series. In recent years, Strait-Jacket has seen renewed interest amid a revival of camp horror aesthetics, with academic analyses framing it as a key text in " horror" narratives exploring aging and trauma. Its status is reinforced through regular television airings, including Svengoolie's broadcasts on , which introduce the film to new generations and celebrate its B-movie charm.

References

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  50. https://ew.com/recap/feud-bette-and-joan-episode-6/
  51. https://www.scienceandmediamuseum.org.uk/objects-and-stories/straitjacket-and-popular-culture
  52. https://www.smithsonianmag.com/history/hair-raising-gimmicks-abominable-showman-180967014/
  53. https://keyframe.fandor.com/william-castles-horror-gimmicks/
  54. https://silverscreenreflex.wordpress.com/2025/06/04/svengoolie-presents-joan-crawford-in-william-castles-strait-jacket-1964-this-sat-on-me-tv/
  55. https://screenrant.com/william-castle-b-movie-shockers-imdb-best/
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