Rochelle Hudson

Various flashbacks and images introduce Lucy Harbin [Joan Crawford], a young woman who comes home unexpectedly to find her husband in bed with another woman. Carol, their very young daughter, is in bed right in the next room, but she is awake. Heartbroken, Lucy suffers a moment of fury and confusion that leads her to spontaneously pick up a nearby axe and decapitate her husband and his lover while they sleep. Carol watches in terror and shock as Lucy hacks the two bodies to pieces. Lucy is declared insane and sent to an asylum, where she endures traumatic shock treatments for her mental breakdown. The narrator of the flashback is revealed to be Carol, now a young woman. It is twenty years later, and Carol is opening up about her past to her boyfriend, Michael Fields. After Lucy's incarceration, Carol was taken in by her aunt and uncle, Bill and Emily, and the family lives on a farm in a rural location. Carol is revealing the family history to Michael because Lucy is being released from the asylum, and is coming to live with the family. When Lucy arrives, she is skittish. She cautiously acclimates to the farm, exploring the area with Carol and meeting the gritty-looking farm hand, Krause. But she is clearly thrilled to see Carol again, and is touched by the lovely young woman Carol has become. Carol is a sculptress and has a spacious studio filled with her work, and she thrills Lucy by giving her a bust of herself just as she was in her youth. Things quickly start to get strange. Carol shocks Lucy by presenting her with two bracelets she used to wear when she was a young woman, large dangling charm bracelets that jangle when she walks. Carol seems intent on recreating Lucy as a young woman, taking her clothes shopping and buying her a wig that mimics the hairstyle she wore the last time Carol saw her. Lucy is uncomfortable with this, but agrees to dress this way to please her daughter, whom she desperately wants to make amends with. While they are in the wig shop, Lucy hears strange voices, as if children are singing a morbid nursery rhyme about her crimes. She dismisses it as nerves. Later, she suffers a terrible nightmare and wakes up to discover two bloody heads in bed with her, with a bloody axe lying nearby. When she wakes the others, the items are gone from her room. Lucy starts to think she is relapsing. Things get worse when Carol attempts to introduce Michael to her mother. When Michael stops by for drinks, Lucy seems to try and seduce him, all with Carol right there in the room. The embarassing scene is interrupted by Lucy's former psychiatrist, Dr. Anderson, who makes an unexpected visit. When he sees how unstable Lucy seems, Dr. Anderson makes comments to the family that suggest he would like to take Lucy back to the hospital. When the doctor gets Lucy alone, his comments upset her and she runs off. As Dr. Anderson searches for her around the farm, he enters the darkened barn and a shadowy figure corners him--it appears to be Lucy, the silhouette revealing her hairstyle and figure, right down to the jangling bracelets she wears. The figure is holding an axe, and quickly decapitates Dr. Anderson. Carol returns to the farmhouse to find her mother alone in the darkened living room. The doctor's car is still outside, and Carol quickly comes to the conclusion that her mother has killed him. In a panic, Carol drives the doctor's car into a barn and locks it in, but she is spotted by Krause, who is lurking the shadows. The next day, Carol sees Krause painting the car a different color and angrily confronts him, but he smugly suggests that he knows what happened to the doctor, and that he'll turn Lucy in to the authorities if Carol fires him. Lucy overhears the conversation from the window. Later that evening, Krause is stalked and murdered with the axe. Lucy prepares for an evening that she dreads, a dinner party intended to introduce her to Michael's parents. If Michael and Carol are to be married, these will be their in-laws, and Michael's family is very wealthy, his father being the proprietor of a very successful dairy farm. Lucy has a panic attack in the powder room while at the Fields'--after spilling coffee on her dress, she retreats to the washroom and suffers a flashback because of the wallpaper, which resembles the bars of a prison cell. Carol calms her down and takes her back to the party. Mr. & Mrs. Fields are cordial until they plot to get Lucy alone so they can have a private conversation with her: Mrs. Fields is suspicious of Lucy, and poor Lucy makes a terrible misstep by revealing to Mr. & Mrs. Fields that her daughter and Michael are planning to be married. The Fields had not been informed of this yet, and they react disapprovingly. Mrs. Fields in particular gets very haughty with Lucy, making suggestions about her past, and Lucy suddenly snaps at her, revealing that she was in an asylum for twenty years. She says that under no circumstances will she allow the Fields' to interfere with her daughter's happiness, and she storms out of the house. Michael drives Emily and Carol back to their house while he and Bill go out looking for Lucy, who has disappeared. Emily sends Carol to bed, but Carol is restless and cannot sleep. With Michael gone from the Fields' house, Mr. and Mrs. Fields are alone in their house and they hear sounds to suggest someone is prowling around. Mr. Fields is oblivious, but when he goes into his closet to get undressed for the evening, he is attacked by the figure of Lucy, brandishing an axe. Mrs. Fields becomes suspicious and goes looking for her husband, eventually finding his body in the dressing room. Horrified, she retreats, only to be confronted by the figure of Lucy in the bedroom. Before the axe can fall, the bedroom door opens and the real Lucy comes in; after scuffling with the other figure, Lucy tears off a mask to reveal her daughter's face underneath. Carol has been committing the murders while dressing as her mother; scarred by witnessing the double homicide committed by her mother, Carol's mind was unstable ever since. Certain that Mr. and Mrs. Fields would never allow Michael to marry her without a great deal of trouble, she plotted to make it appear as if Lucy murdered them in a rage, which would send Lucy back to the asylum and allow her to marry Michael. Her mind shattered, Carol clutches the mask of her mother and screams at it "I hate you! I hate you! Oh I'm sorry, I love you! I hate you! I love you!" Outside on the porch, Lucy hears her daughter's insane ravings and weeps, perhaps remembering her own moment of insanity. An epilogue reveals Lucy discussing her plans with Bill. With Carol now committed to an asylum just as she once was, Lucy intends to stand by her daughter and be whatever kind of support that she needs.

Shortly after moving to Los Angeles with his parents, 17-year-old Jim Stark (James Dean) enrolls at Dawson High School. In the opening scene, Jim is brought into the police station for public drunkenness. When his mother, father and grandmother arrive at the police station to retrieve him, conflicts in Jim's family situation are introduced as he explains to the arresting officer. His parents are often fighting. His weak-willed father (Jim Backus) often tries to defend Jim, but Jim's picky and domineering mother always wins the arguments for his father cannot find the courage to stand up to his wife. Jim feels betrayed both by this fighting and his father's lack of moral strength, causing feelings of unrest and displacement. This shows up later in the film when he repeatedly asks his father, "What do you do when you have to be a man?" The next day, while trying to conform with fellow students at the school, he becomes involved in a dispute with a local bully named Buzz Gunderson (Corey Allen). While Jim tries to deal with Buzz, he becomes friends with a shy 15-year-old boy, John, who is nicknamed Plato (Sal Mineo), who was also at the police station the night of the opening scene for shooting and killing puppies. Plato idolizes Jim as a father-figure much to Jim's concern. Plato tells Jim that his parents divorced several years ago and are never in Los Angeles. His mother lives away in her hometown and never visits, calls or writes, while his father (a wealthy business executive) is always traveling and avoids comming home, leaving only his housekeeper to look after Plato. Plato experiences many of the same problems as Jim, such as searching for meaning in life and dealing with his absent and selfish parents who "don't understand." In the school hallway, Jim meets Judy (Natalie Wood), whom he also recognizes from the police station the previous night, where she was brought in for being out alone after dark, who originally acts unimpressed by Jim, saying in a sarcastic tone, "I bet you're a real yo-yo." She is apparently the property of Buzz. Judy too has an unhappy homelife when it shows her before going to school when she deals with her unattenative and sexist father who gives all his attention to Judy's younger brother as well as ignors both Judy and his wife for he feels that women are ment only to serve him, and nothing more. That afternoon, Jim goes on a field trip with his science class to the Griffith Observatory. At the Planetarium, he watches a dramatic presentation of the violent death of the universe. After the show, he watches Buzz and his thugs slash a tire of his car for no reason, and then Buzz challenges him to a knife fight, while the gang taunts Jim as a "chicken." Jim reluctantly takes part in the fight and wins, subduing Buzz by holding his switchblade up to his neck before discarding both knifes off a railing. Both Jim and Buzz get slight injuries during the knife fight. Not to be outdone, Buzz and his thugs challenge Jim to a "Chickie Run" with Buzz and Jim racing stolen cars towards an abyss. The one who first jumps out of the car loses and is deemed a "chicken" (coward). That evening, the "game" is held with Judy and several students in attendance to watch. But the race ends in tragedy for Buzz when a strap on the sleeve of his leather jacket becomes looped over a handle on the car door, preventing him from jumping out before the car goes over the cliff. Jim runs home and tries to tell his parents what happened, but quickly becomes frustrated by their failure to understand him and storms out of the house. Jim goes to the police to find the sergeant who took his statement the previous night to tell him about the accident involving Buzz's death, but learns that the police officer is not there. Jim refuses to speak to any policeman and will speak only to the sergeant and he leaves. But Jim is spotted leaving the station by three of Buzz's friends, Crunch (Frank Mazzola), Goon (Dennis Hopper), and another one of Buzz's gang members whom is not named. Mistakenly thinking that Jim told the police about the "Chickie Run", they decide to hunt Jim down to "silence him"... permenently. Jim meets up with Judy and they go to an abandoned mansion to hide out. Plato finds them there (he was the one who told Jim about the house). There they act out a "fantasy family," with Jim as father, Judy as mother and Plato as child. However, Crunch, Goon, and the other boy soon discover them, and terrorize Plato who finally brandishes his mother's handgun that he took from the house, shooting Crunch, and at Jim, and a police officer who investigates, in a clearly unstable state. Plato runs and hides in the Observatory, which is soon besieged by the police. Jim and Judy follow him inside, and Jim convinces Plato to lend him the gun, from which he silently removes the ammunition magazine. When Plato steps out of the observatory, he becomes agitated again at the sight of the police and charges forward, brandishing his weapon. He is fatally shot by a police officer as Jim yells to the police, too late, that he had already removed the bullets. Plato was wearing Jim's jacket at the time, and as a result, Jim's parents (brought to the scene by police) think at first that Jim was shot. Mr. Stark then runs to comfort Jim, who is distraught by Plato's death. Mr. Stark promises to be a stronger father, one that his son can depend on. Thus reconciled, Jim introduces Judy to his parents and they drive off together as dawn starts to break.

A struggling widow and her daughter take in a Black housekeeper and her fair-skinned daughter; the two women start a successful business but face familial, identity, and racial issues along the way. Bea Pullman and her daughter Jessie have had a hard time making ends meet since Bea's husband died. Help comes in the form of Delilah Johnson, who agrees to work as Bea's housekeeper in exchange for a room for herself and her daughter Peola. Bea comes up with a plan to market Delilah's pancake recipe. The two soon become wealthy, and their friendship deepens through the years, but their relationships with their daughters become strained. Ashamed of her mother, Peola seeks a new life by passing for white. Bea's love for her daughter is tested when she and Jessie fall for the same man. —<dbubbeo@cmp.com> Following the death of her husband who she admits she never truly loved in a romantic sense, Bea Pullman is having a difficult time with life trying to make ends meet by maintaining his maple syrup business while raising their daughter, Jessie Pullman. The child care side of the equation is addressed when she meets a black woman named Delilah Johnson, who is looking for a housekeeping job primarily for room and board which includes for her light skinned daughter, Peola Johnson. While Jessie and Peola become fast friends, Bea sees in Delilah more than just a housekeeper, but a friend and business partner when she learns that Delilah makes the world's best pancakes, which triggers the idea that they should open a pancake restaurant and sell syrup as a side business. That successful business morphs, based on a suggestion by a down and out customer named Elmer Smith who becomes their partner, into an even more successful venture selling the pancake flour mix for home use. This business makes both women richer than they could have ever imagined, although all Delilah wants is to continue to live with the Pullmans to look after them and Peola. As the girls grow into young womanhood and go away to college - Peola specifically to one catering to blacks in the South - issues arise which threaten to tear each family apart largely as the girls now have the power to do what they will. For the Pullmans, the issue surrounds what may be the first true loves each has experienced in her life, Bea's with Elmer's friend, ichthyologist Stephen Archer. And for the Johnsons, the issue is Peola taking action to run away from her life as a black woman, wanting to pass as white. —Huggo