The alternate title: Battle Axe. In hindsight, this really foreshadows the image of Crawford as a rampaging dragon lady that would become prevalent post-Mommie Dearest. Her character veers wildly from one mindset to the next, alternately coming across as strong, self-sacrificing, vengeful, bitter, trampy, berserk, cloying, dignified, and scary. There's no trademark gimmick here like in earlier Castle features, so it's her persona that fuels the whole venture. The silhouetted murder sequence where Crawford hacks up whoring hubbie Lee Majors (where's your bionic powers now, big man?) is a horrifying cathartic rush and a hilariously campy showstopper all at once. How Crawford manages to not bring the movie to a dead halt in her blowsy print dress, frightening age-reducing wig (her real hair looks much better), and awful jangling bracelets is mystery, but all together they seem to armor her character as this creature of sheer will that won't be denied. Diane Baker deserves the award for Most Accommodating Starlet of 1964 for her incredible ability to bite her tongue and smile nicely as Crawford literally steals the movie's finale out from under her.
"Don't screw with me, Castle! To hell with your big ending! I'm stealing this finale and nobody's gonna stop me! You think I won't use this?! I took on MGM and the Pepsi Board of Directors with just a nail file!"
"Don't screw with me, Castle! To hell with your big ending! I'm stealing this finale and nobody's gonna stop me! You think I won't use this?! I took on MGM and the Pepsi Board of Directors with just a nail file!"
