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Plot:

After the funeral of her brother-in-law, Edith Phillips learns that Margaret de Lorca, her rich twin sister, had tricked her way into marriage with the man she also loved. So she kills Margaret and assumes her identity and life-style. However, her life becomes complicated by her late sister’s sleazy boyfriend, Tony Collins and Sgt. Jim Hobbson, a Los Angeles detective who loved the “dead” Edith.

Also Known As: Gemelas mortales, Sosie moarta, Su propia víctima, ¿Quién yace en mi tumba?, Dead Ringer, Kto lezy w moim grobie?, Alguém Morreu em Meu Lugar, Hvem ligger i min grav?, Chi giace nella mia bara?, Двойник Soviet, Vem ligger i min grav?, Dead Image, Halálos hasonlóság, La Mort frappe trois fois, La mort frappe trois fois, Who Is Buried in My Grave?, Cine zace în mormântul meu?, To eglima tis 9is leoforou, Kuka makaa haudassani?, Der schwarze Kreis, De dood slaat drie maal, A morte bate 3 vezes, Der schwarze Kreis West

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  • antero-korhonen-heikkila
    antero korhonen heikkila

    Okay, some of it can get silly.But this one is worth suspension of disbelief.My question is:if the Sainted Frank was so much in love with Edith, why did he waste no time whatsoever jumping into bed with her twin sister, Maggie? (Maybe “having to marry” Maggie was his punishment for having cheated on Edie. It was a heavy price to pay.) Frankly, had I been in Edie’s place, when Maggie told me that she was pregnant and Frank “had” to marry her, I would have slapped her into the next week.I did not blame the “good” sister one bit for recoiling from “Tony Collins”, Peter Lawford’s gigolo character. He came off as MEGA-sleazy.Peter Lawford, at one time, was a very handsome man, but by the time they made this movie, his looks were all but gone and he looked bloated and was pretty much going through the motions. Sadly for him, he had another twenty years to live.Jean Hagen’s character DeDe Marshall is the type of woman I can’t stand…rich, pampered, empty-headed.Karl Malden gave his usual solid performance, and I love Estelle Winwood in any thing she’s in. Estelle was Tallulah Bankhead’s roommate and I wish she would’ve written a book about that experience. It would have been a best seller.I liked the dog, Duke, but him killing someone? Great Danes are not attack dogs….and you could see in the closeup that the dog was a fake.Nevertheless, I’ve always liked this movie and was so glad when I could get it on DVD.

  • stelian-diaconu
    stelian diaconu

    There’s a lot to like about this movie, and some things to not like about it. But after watching this film a second time, I have to admit it’s better than I remembered it being. I think part of the problem I had with the film is that it seemed like quite a step down from Bette Davis films from the 1940s such as “Dark Victory”, “The Letter”, and “In This Our Lives”. Instead, this is a bit noir-ish and has its own set of attributes.Interestingly, it was directed by Paul Henreid, once one of Bette Davis’ costars.A mature Bette Davis kills her rich twin sister (a double role) for a variety of reasons. The question is, will she get away with it? Davis turns in a strong performance, as does the boyfriend of the “poor” sister, cop Karl Malden. I’m not a fan of Peter Lawford, but this is one of a few films where he turned in a strong performance, sleazy though his character may be. Other supporting stars simply do their jobs…nothing notable.This is the second time Bette Davis played twin sisters, the other time was 1946’s “A Stolen Life”. “A Stolen Life” is undoubtedly the better film, but this is not a remake. It is a different story all together.What I didn’t like in this film was the early dialog between the two sisters. Frankly, it seemed a bit childish. The rest of the script — in terms of dialog seemed fine. And, there are several quite delicious plot twists. Make no mistake, this is not a who-done-it. We know who done it from beginning to end, although, as mentioned, there are some surprises along the way. This is a neat little thriller in Davis’ later common character — the witch…or something that rhymes.Although I haven’t raised my rating from the original “7” I gave it, on review it’s a very strong “7”, rather than a very weak “7”.

  • matjaz-kolenc
    matjaz kolenc

    “Dead Ringer” has Bette Davis in her post-“Baby Jane” career stretch in a dual role as twins: one, Edith, a spiteful bar owner; and the other, Margaret, a wealthy socialite who made her fortune off of the man Edith had initially courted years prior. When Edith kills her sister darling and decides to fill in for the role, natural problems ensue.Bette Davis is known for playing a no-holds-barred bitch on screen, and she spent the majority of her late career perfecting this. She’s as famous for her phenomenal early work as she is for playing psychotic, mean-spirited women in the string of cult thrillers she did throughout the sixties, and “Dead Ringer” is a solid entry in that timeline.Not quite as demented as “What Ever Happened to Baby Jane?,” “Dead Ringer” is a fairly restrained thriller that culls nearly all of its tension from Edith’s masquerade as her dead sister. This is a formulaic plot device, but director Paul Henreid maintains the tension on screen, largely due to Davis’s jittery and paranoid performance, but also with the help of some nice cinematography and clever camera-work that allows the on screen twin scenes to hold up remarkably well even today.As some have noted, the film does lack a bit of a bite, as it is by most accounts a thriller that never really gets around to thrilling. The playful suspense generated by the masquerade is the main attraction here, although the script does provide a remarkably clever twist ending that comes entirely out of left field. Davis’s performance is great; not nearly as histrionic as some of her others during this period, and Karl Malden also maintains an even tempo as the good-natured cop/boyfriend. Overall, “Dead Ringer” is a solid early-sixties thriller that holds up well today. It does plod a bit at times, but is no less compelling from start to finish. For Davis fans, it’s an obvious must-see, but audiences who enjoy melodramatic thrillers in a Hitchcockian vein will have plenty of fun with this one. 8/10.

  • marina-radic
    marina radic

    Bette Davis is just fabulous here as the embittered sister who kills her recently widowed twin sister and assumes her identity.What makes this film so good is what Bette has to go through to keep this charade going. From the handwriting, to recognizing friends and rooms in the mansion, Bette has a field day.The irony here is great when Bette realizes what a witch her sister is but it’s too late to do anything about it. Just seeing why Bette goes to the chair at the end is just unbelievable.Surrounded by an excellent supporting cast consisting of Peter Lawford as the playboy boy-friend of dead sister Margaret and Karl Malden as the man who loved Edith, the sister who has done the killing. This film has been tremendously under-rated. Not to be missed!

  • jacobo-valdez-valladares
    jacobo valdez valladares

    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.

  • ronald-roberts
    ronald roberts

    Edith Phillips (Bette Davis) meets up with her estranged twin sister Margaret de Lorca at Margaret’s husband Frank’s funeral. Edith has her money losing cocktail lounge while Margaret is lording her wealth over her. Frank was courting Edith originally until he had an affair with Margaret. After Margaret’s claim to be pregnant, Edith never talked to them again. Margaret tells Edith that the child died before a year old but the family chauffeur recalls that she was never pregnant. Later, Edith lures Margaret to her lounge where she kills Margaret and assumes her identity. She makes Margaret up to look like her having committed suicide. People have their suspicions including Margaret’s lover Tony Collins (Peter Lawford) who starts blackmailing her. Edith’s boyfriend police sergeant Jim Hobbson (Karl Malden) continues to investigate her supposed suicide and also the death of Frank de Lorca.Bette Davis is a powerful force. That’s what this movie gives with her on the screen. Director Paul Henreid could have tightened up some of the scenes to elevate the tension. For example, the scene of Edith setting up Margaret’s body as a suicide takes forever. It could have been done better and with more intensity. No matter what, Bette Davis exudes screen presence.

  • terri-monroe
    terri monroe

    I saw ‘Dead Ringers’ or ‘Dead Image’ as it was called here in the UK on its first release in 1964 (when very young!)and friends and I enjoyed it as a great Bette Davis role (roles) after Baby Jane and Charlotte – perhaps the last of her leading lady roles. This is obviously Bette at her most mannered – so many great quotable lines: “Castoffs, but you haven’t seen my castoffs…”, !”you HAVE’NT GOT that amount of money!”, “Poor Father, A Wino” etc.I had not seen it for years, until discussing it with another poster on these boards recently, which made me dig out my VHS copy and I was entranced all over again! If only the DVD was available here in the UK, looking forward to those special features! On the face of it here is a dumpy middle aged woman in a low budget picture in black and white, and she is mesmerising. You can’t take your eyes off her.Definiately up there with the great Bette moments: “Edie’s Cocktail Bar on Figueroa” etc. Now for another look at “the Anniversary” !

  • annikki-karjalainen
    annikki karjalainen

    Bette Davis the greatest female star in the history of Warner Bros returned to the studio to make this excellent film. ( Bette’s great comeback hit, ‘Whatever Happened to Baby Jane’ was filmed at the old Producers Studio aka Raleigh Studios on Melrose but was released by WB).Jack Warner gave Bette Davis carte Blancha on this film after Bette’s great hit in ‘Whatever Happened to Baby Jane’. I liked ‘Dear Ringer’ a lot and Bette Davis has a field day playing both parts. Karl Malden is very professionally as always. WB contract Star Phil Carey has a small role.Paul Henried so memorable a co star of Bette’s directs ‘Dead Ringer’ in crisp fashion and the cinematography in gorgeous black and white is first rate. I miss the [email protected] movies!Read that Lana Turner was offered this movie first but turned it down. Not sure if that is true or just another one of the many Bette-related stories that circulate. In any event, glad Bette Davis got the part. Fine drama. Paramount and Sony Columbia name Buildings after Film People who have made great contributions to those studio lots, Paramount has buildings named after Hal Wallis, Lucille Ball, Mae West, Marlene Dietirich, et al and Sony Columbia has buildings or stages named after Kim Novak, William Holden, Rita Hayworth, Frank Capra et al, and I wish Warner Bros would name a building on its fabled movie lot after WB’s greatest female star Bette Davis.

  • luisa-freitas
    luisa freitas

    In the past, I tended to avoid Bette Davis movies because something about her rubbed me the wrong way. So I don’t know why I sat down to watch “Dead Ringer”, but I am glad that I did. I have to admit that Davis gave a very good performance in both of her roles, making her characters not quite sympathetic, but interesting enough that you keep watching in order to see what will happen to them. Though the fact that the production code was still in effect will tell you what will eventually happen long before it does, director Paul Henreid puts plenty of life and interesting developments along the way that keeps you watching.The movie is good enough to be worth watching. However, I did have a couple of minor quibbles with the movie:(1) At nearly two hours in length, the movie is a bit long. While the movie never gets boring or tedious, and that every scene does provide a purpose, I do think that several scenes could have been cut down in length slightly to make the pace somewhat brisker.(2) The main character does not find herself in serious trouble until the last twenty minutes of the movie. Up to that point, she does have some challenges, but manages to quickly solve them. I think the movie would have been better had the screws slowly been tightened as we followed the main character, leading to tension growing bit by bit.Despite those quibbles, as I said earlier, the movie is worth a look.

  • lena-jacquot
    lena jacquot

    Some neat twists and turns in this story make it an enjoyable couple of hours, particularly when Edie (Bette Davis) gets what’s coming to her – even if she was convicted of the wrong murder! That was one of the ironic things about this picture; as the viewer one likes to see things wrapped up in a nice, neat little package, but if that doesn’t work out, well at least justice was served in a roundabout fashion.This film reminded me of a couple others, the first being Bette Davis’s own “Whatever Happened to Baby Jane?” which also featured a pair of sisters in a dysfunctional relationship. The other was “Sunset Boulevard”, in the respect that the butler Henry (Cyril Delevanti) here remained loyal to the phony Margaret DeLorca (also Davis) in somewhat the same manner Erich von Stroheim’s character traded his loyalty for individuality while maintaining a façade for Gloria Swanson’s Norma Desmond. Granted, that situation was a bit different, but you get my drift.And then there was Duke. Right off the bat I had a pretty good idea Duke would know the score with Edie masquerading as her sister. For a minute, I thought Edie might have given herself away when Sergeant Hobbson (Karl Malden) first came calling, and I was surprised he was never let in on Edie’s little secret, although he came pretty close. Good detective work though, getting the goods on Tony Collins (Peter Lawford) and figuring out the old arsenic gambit. Come to think of it, if you wanted to make the case for Edie getting away with a second murder, she had a pretty competent accomplice.If you can overlook some of the pitfalls in the story and just take it as it plays out, it’s a pretty good one. I got a kick out of the opening scene when a sign for Rosedale Cemetery comes into view stating ‘Graves, Niches, Cremations and Undertaking – All in One Place’. I thought about that for a while before asking myself, where else would they be?

  • kestutis-gagys
    kestutis gagys

    A “film noir”, excellent from beginning to end. There are no superfluities or lacks of any kind, perfect balance of all the elements. It isn’t as haunting and lurid as “Baby Jane”, but the same kind of movie depicting an inhuman world in which everyone is against everyone. It is so well done, it rises to the level of art. Intense esthetic satisfaction, very organically sound. It’s a real masterpiece. Even the music is masterful. The dialogue is sparse and effective, the cinematography stylish without being overbearing or tacky. Far more stylish and polished than “Whatever happened to Baby Jane”, which tended to sprawl in a narrative sense. Both films are `guilty pleasures’ with plenty of dark humor, not the least of which being Karl Malden holding a torch for elderly Bette!!! Malden is superb, as usual. The final twist of the plot is breath-taking in its subtlety and philosophical implications.

  • lori-stephens
    lori stephens

    BETTE DAVIS obviously relished playing twin sisters, especially if it gave her a chance to steal every scene she was in with her over-the-top kind of performing that her fans expected and adored.This is a true campy delight because it not only gives her the spotlight (and the most clever lines), but is a reminder of how good her old Warner movies were when they were scored by a master like Max Steiner. Here we have Andre Previn giving a richly orchestrated score similar to the kind that adorned her earlier melodramas–and it works!! And the photography is very reminiscent of the grandiose kind that filled films like DECEPTION and MR. SKEFFINGTON with shadowy noir characteristics.Bette plays twin sisters, one rich, one poor, who are leading very different kinds of lives. When the poor one (Edie) kills Margaret to take over a better, wealthier life style, she soon realizes that she knows too little about her sister’s relationships with men. Peter Lawford turns out to be one of her sister’s more obnoxious boyfriends and, mercifully, the plot soon disposes of him in one of the film’s more horrific moments.Bette has to contend with all sorts of problems, including the fact that her boyfriend (when she was Edie) is KARL MALDEN and he seems to be snooping around with too much intensity. The script contrives a lot of other hurdles for her to overcome and herein lies the fascination in wondering how she will fool everyone until the denouement.The loose ends are tied up neatly in a final scene that comes as a payoff for all that happened before…and the last line is a corker.Bette’s fans will love this one, even though it came late in her career at a time when it would have helped if she looked a bit younger for the romantic moments.

  • chase-smith
    chase smith

    This movie could easily have become a sad and pathetic parody of the final stages of a great actor’s career. Instead it marks another pinnacle in the history of one of Hollywood’s greatest players, Bette Davis. There are not enough superlatives to describe her performance. Not only does Davis carry the movie, she is the movie. Her performance transcends the material. This movie is an example of where the actor succeeds in elevating the script. The story is cleverly written and beautifully photographed in a black and white context that sets the mood for the movie. But it is Bette Davis’s performance as a twin which makes this movie not only watchable but fun to watch. Like Bette Davis herself, this movie has aged well. Davis has since departed us but her legacy lives on in her many wonderful movies, including this one.

  • tome-ribeiro
    tome ribeiro

    Bette Davis plays twin sisters, one glamorous, the other homely, in this tale of deception, betrayal, and murder. What makes the story so fascinating is its delicious irony, as the homely sister, Edith, becomes ever more ensnared in her own tangled web.The story is marred slightly by some obvious contrivances and plot holes. But it has lots of twists and turns. And Bette Davis, with her memorable voice, her gestures, and those Bette Davis eyes renders the Edith character engaging, as she realizes something important that she had not foreseen, and then makes an effort not to be found out. It’s all about the internal tension of faking a false identity.Much of the plot is consumed in detail, as we watch Edith squirm and fret when confronted with small tasks like switching clothes with a corpse, faking a signature, or determining the combination to a wall safe. These action details are somewhat tedious. But they give Davis lots of opportunity to act.The film’s B&W cinematography is fine. The split screen technology wherein both sisters appear together in the same scene is rather self-conscious, but was quite advanced for its time. Rear screen projection is another technique that is used, but seems primitive by today’s technical standards. The film’s lighting is quite good.The film gets off to a really good start with a snazzy, and very Hitchcockian, title sequence accompanied by Andre Previn’s excellent original score. The film’s supporting cast includes Karl Malden, Estelle Winwood, and Jean Hagen. But, though they are all credible in their roles, this film belongs to Bette Davis. It’s her show. And a viewer’s response to the film will hinge largely on their impression of Bette Davis and her ability to play two roles. Personally, I think she did a splendid job.

  • zoia-gogua
    zoia gogua

    Bette Davis here excels in “Grand Guignol” version of melodrama.She looks intimidating and beautiful, has several lovers, and a life of deception. This is a must not miss film, which I watched with my mother as a child.Ms. Davis plays Edie, the understated down at heel bar owner who is in love with modest detective Karl Malden. She is tired of her life, and after owing a great deal of money, attempts to reconcile with her wealthy sister, Mrs. DeLorca.Mrs. DeLorca (also Davis) is an opportunist. Not happy, but wealthy. Somehow a change of identity occurs, and Edie ends up dead.Beautiful cinematography as Edie’s sister in her Beverly Hills Mansion. Duke, the Great Dane ( great dog) adds a nice nuance to the story. There are also some amusing scenes with Peter Lawford as an ex-lover, now discarded.All in all this is a superior film which you will want to watch more than twice. Highly recommended. 9/10.

  • suliko-qurashvili
    suliko qurashvili

    This is movie of a type they don’t make any more- regrettably. It goes way beyond melodrama and has a plot with twists and turns that is way beyond most movies nowadays. The script is clever as opposed to contrived and keeps the tension up right up till the end. Undeniably this movie is a star vehicle for Bette Davis who carries off the dual roles of two sisters with amazing ease and aplomb. The supporting actors – Karl Malden & Peter Lawford are similarly excellent. Made at a time when special effects were still pretty rudimentary- it is all the more “clever” for the seamless way in which some scenes are covered. Fans of other Davis’s films of the 60’s that reached into the bizarre, horror genres – this one stands with the best of them. I highly recommend it.

  • bruno-kukucka
    bruno kukucka

    Some movies are just too enjoyable not to watch, especially if you enjoy thrillers with a unique twist and Bette Davis. I like to think of this as the second half of “A Stolen Life” where Bette replaces her mean sister and takes on her life. The story is essentially the same, but we see more of the dilemma of trying to pass as the other sister. Even though Bette’s character is a murderess, we hope she gets away with it. The poker scene always has me squirming in my seat. The supporting cast is good too, Karl Malden was never one of my favorites, but he’s not bad in this movie. On a side note, did anyone else notice the bar singer as the same singer in Pillow Talk?

  • brittany-tucker
    brittany tucker

    After miraculously reviving her career with an Oscar-nominated turn in 1962’s “Whatever Happened to Baby Jane?,” Bette Davis was once again in demand, although it was to be playing in the “Grand Guignol” genre. A year before the legend to return in another “ghoulish” melodrama, “Hush, Hush, Sweet, Charlotte,” Davis appeared in “Dead Ringer,” sort of a throwback to the “film noir” style of the 1940’s.In this one, Davis assays the roles of twin sisters, one that does away with the other in order to take her sister’s identity and adopt a more successful lifestyle. Unfortunately the murderess discovers that the grass is not always greener on the other side. She inherits her deceased sister’s fortune, but there is also the additional “baggage” of a lothario boyfriend, played by Peter Lawford. Lawford, not the best of actors, does possess a certain “greasiness” that is perfect for his character.Karl Malden dons his patented policeman’s hat as the boyfriend of the murderer and ends up being the investigator into the murder.The cast is rounded out by veterans Jean Hagen, George Macready, Estelle Woodard, George Chandler, and Phil Carey.Though there are a few plot inconsistencies and the Davis/Lawford “pairing” is stretching the limits of believability, Paul Henreid’s direction and the always captivating Davis make this an enjoyable viewing experience.And Andre Previn’s score is a classic of the genre.

  • arkhelaos-klearkhos-mperedemas
    arkhelaos klearkhos mperedemas

    In Los Angeles, after eighteen years without speaking to each other, Edith Phillips meets her twin sister Margaret de Lorca (Bette Davis) in the funeral of Maggie’s husband and former love of Edith that died of heart attack. Maggie invites Edith to visit her mansion, and Edith finds through her sister’s driver that Maggie used a fake pregnancy to trick her and marry her passion. When Edith arrives in her bar, she is evicted by her landlord. Edith calls Maggie, kills her and assumes her identity. The police, including her boyfriend Sergeant Jim Hobbson (Karl Malden), believe that Edith committed suicide in an act of despair. Edith lures Maggie’s servants and friends, but when Maggie’s lover Tony Collins (Peter Lawford) appears, the situation becomes complicated for her.”Dead Ringer” is a great film-noir, with thriller and black humor in an ironic story where justice is reached through the wrong and unexpected way. I have never had the chance to see the original Mexican movie “La Otra”, but this remake is magnificently supported by the awesome Bette Davis, performing double and ambiguous roles that permit her to be rich, poor, simple, sophisticated, killer and victim. Her final line to Jim Hobbson (“-She wouldn’t hurt a fly!”) gives a bitter touch of class and irony to the conclusion of this enjoyable film. My vote is eight.Title (Brazil): “Alguém Morreu em Meu Lugar” (“Somebody Died in My Place”)

  • bradut-stoica
    bradut stoica

    Bette Davis is a poor bar owner and the wealthy widow who stole her sister’s boyfriend in “Dead Ringer.” Davis played twins before in “A Stolen Life.” This time, she’s Edie and her sister, the recently widowed Margaret DeLorca. The two have been estranged for many years – Margaret slept with Edie’s boyfriend, DeLorca, said she was pregnant, and married the guy. The baby, a boy, died. On the way home from the funeral and a visit with her sister, Edie learns from the chauffeur that Margaret never had a baby. Edie kills her sister and switches identities with her, leaving Margaret in her place, in her clothes. By taking Margaret’s identity, she also leaves behind her boyfriend, a police detective played by Karl Malden.Edie soon learns that Margaret’s life was – well, complicated. For one thing, she’s involved with Peter Lawford. And there’s more! Bette Davis does a great job as both sisters. This is an entertaining film that Davis fans won’t want to miss.

  • pinter-imrene-major-judit
    pinter imrene major judit

    Through out the years many critics have said that the movies that Bette Davis did during the 60’s were bad and campy at best, I tend to disagree. While some of them were not the best movies, Davis was always her best in them. Davis couldn’t give a bad performance.DEAD RINGER is a good movie with a good script and veteran actors doing what they do best. Definitely a good way to spend a Sunday afternoon.

  • judith-diana-soria-ibarra
    judith diana soria ibarra

    Bette Davis essayed twin sisters twice. The first was A STOLEN LIFE, one of her last good Warner Brother films in the late 1940s, wherein the good sister watches helplessly while her bad sister steals Glenn Ford from her, but she gets a second chance at Glenn when the bad sister is killed in an accident and the good one can take over her life (hence the title).Then there was this film made nearly two decades later. Despite some far out plot twists, most people think that DEAD RINGER is the better film. By 1964 Davis had discovered (like her rival Joan Crawford) that their career could survive playing in “grande guinol” films. WHATEVER HAPPENED TO BABY JANE? and HUSH, HUSH SWEET CHARLOTTE, were followed by DEAD RINGER, THE NANNY, and THE ANNIVERSARY (my personal favorite – and actually the least bloody of these films). DEAD RINGER and THE NANNY tie for being the most sympathetic roles for Bette in these films. In DEAD RINGER, Edith Philips is the twin sister of wealthy widow Margaret De Lorca. Edith owns a run – down bar, and it is going into bankruptcy, and she is facing eviction. Her closest friend (closer if she would watch his signals) is Police Sgt. Jim Hobbson (Karl Malden). But she is consumed with anger and jealousy at her sister because Margaret married the man who Edith should have married. So Margaret’s current security is due to her stealing Edith’s boyfriend (similar to the plot in A STOLEN LIFE). So she invites Margaret to her home, and shows Margaret a letter that she has written. It is Edith’s suicide note, and as Margaret reads it she realizes that she is about to become Edith permanently.Edith has planned this a bit, but she does not plan for two problems. Sgt. Hobbson is in a bad state because he loved Edith, and he keeps visiting her identical twin “Margaret”. This is upsetting to Edith, who did not plan to hurt her boy-friend. Secondly she discovers Margaret had her secrets too. The late Mr. De Lorca may have died in too timely a fashion (wink, wink), and Margaret had a boy – friend too who helped her, a playboy named Tony Collins. Tony is curious about “Margaret’s” lack of interest (or even awareness) of him, until he begins to put two and two together, Then he becomes very demanding to his supposed lover.The climax of the film is quite twisty, if predictable after awhile. But the final moment between Davis and Malden is sadly touching in it’s way. The film may also have the best dramatic performance by Lawford as a villain in his film career (finally he cuts loose and shows what he could do). Not one of Davis’s greatest films, but an interesting one, and worth viewing.

  • lena-lindberg
    lena lindberg

    DEAD RINGER stretches credibility, but is an enjoyable little thriller. The story opens in 1964 Los Angeles where financially struggling Edith (DAVIS) goes to the funeral of wealthy twin Margaret’s husband, Frank DeLorca. The two sisters have not seen each other for 20 years because Edith had originally been dating Frank, and Margaret stole him away from her claiming pregnancy. Margaret invites Edith back to her home after the funeral and once there, insults her by offering her cast off clothing. A quarrel ensues where Edith accuses Margaret of never having loved Frank and therefore denying both Frank and Edith of true happiness. In a huff Edith leaves in Margaret’s chauffer driven Cadillac. While talking to the chauffer during the ride home, Edith learns that the pregnancy ploy that Margaret had used years before was a lie. When Edith arrives at her small bar in a seedy part of town, she is confronted by her rental property agent, who informs her that since she is 3 months behind in rent, he wants her gone. The one bright spot in Edith’s life is the friendship that she has with Sergeant Hobbson (KARL MALDEN). In fact he remembers her birthday and gives her a watch, but Edith is so consumed with her problems that she is almost oblivious to his being there. In her apartment above the bar, now angry at her sister and somewhat irrational, Edith devises a plan to have Margaret visit, at which time she will murder her and take on her identity. Edith phones Margaret and orders her to come to her bar with the ruse that she “knows everything”. Margaret goes, believing that Edith has some other knowledge. In an interestingly filmed manner, Edith manages to shoot her sister, change clothes, and make it look as though “Edie” has committed suicide. She now leaves in “Margaret’s” chauffered car and steps into a grand life. Only now, she’ll have to contend with pulling it off. Physical resemblance aside, Edith must now adopt “Margaret’s” lifestyle. She must also convince everyone in “Margaret’s” orbit from household servants to friends to Tony Collins (PETER LAWFORD), Margaret’s lover, that she is Margaret. Worse, Sergeant Hobbson starts snooping around and unearths alot of things. Things that were not intended to come to light…… Former DAVIS co-star PAUL HENRIED stays within the guidelines with his job as the film’s director. He should not have used daughter MONIKA HENRIED as Margaret’s maid. Her delivery is flat, and apparently in her early twenties looks more like a young woman of means than a personal maid. JEAN HAGEN is light and airy as shallow friend Dede Marshall, ESTELLE WINWOOD is very good as annoying relative Dona Anna. PETER LAWFORD is also very good as the suave and slimy aging stud muffin Tony Collins. KARL MALDEN is tender in his early scenes, then all business in his latter ones. BETTE DAVIS is excellent playing 2 very different sisters. Her mannerisms and delivery are clearly separate depending on which role she is in. She’s down to earth and practical as the down on her luck Edith. As the frivilous Margaret, DAVIS is coy and somewhat flighty, dismissing away what displeases her with a wave of her hand. This is a signature performance of DAVIS, and she runs with it, pulling out all the stops along the way !!!

  • pan-grzegorz-szela
    pan grzegorz szela

    Many of the films of the 60s were boring as hell. It took a star like Bette Davis to bring the necessary fire to this double role as twins in “Dead Ringer.” In other hands, this might have been unworthy, but with Davis’ magical screen presence, you can’t take your eyes off her (both of her!) Even in small scenes, she’s real and radiant (when Jim gives her the watch for her birthday). Andre Previn’s score is superb. I loved the music after Edith storms out of Margaret’s bedroom in the beginning of the film when she sees the portrait of her sister’s dead husband and HER former lover, followed by that tender moment with the butler.With the performances that got Oscar nominations during the ’60s, some were pretty dull. Compared to them, Bette deserved a nod for best actress. Davis was wonderful in this. Her years of acting experience before the cameras was on full display in every scene…she was the consummate professional.Did you notice Perry Blackwell at the organ? She also appeared in the Doris Day/Rock Hudson hit,”Pillow Talk” as the nightclub singer a few years prior. The drummer in this was married to Nancy Wilson!

  • ottfried-pohl
    ottfried pohl

    Nobody in film has yet portrayed evil bitch, and sometimes crazy evil bitch, as well and as often as the late great Bette Davis, as evidenced by such films as “Of Human Bondage”, “Whatever Happened To Baby Jane”, and “The Nanny”, just to name a few that come immediately to mind. Capable of spitting out lines such as “Ah’d luv tuh kiss yuh, but ah jus’ washed mah hair” (from “Cabin In the Cotton”, 1932), “Every time you kissed me, I had to wipe my mouth! Wipe my mouth!” (from “Of Human Bondage”, 1934) to “But Blanche, yuh ahhh in that chair, yuh ahhhhhhh!” (from “Whatever Happened To Baby Jane”, 1962), Bette Davis made a lucrative living with her hip-swinging sashaying stride and her mannerisms that still make her a favorite of drag queens everywhere.In “Dead Ringer”, Bette was once again cast in the dual role of good sister/bad sister (Edith Phillips/Margaret DeLorca) similar to her dual roles in “A Stolen Life” (1946, with Glenn Ford). Paul Henreid, her co-star in “Now Voyager” – remember him in the classic scene that involved his lighting two cigarettes and handing Davis’s character one of them – directs. “Dead Ringer”‘s premise is simple: good sister impulsively tries to step into shoes of deceased bad sister in an ill-conceived move to improve her own quality of life, without thinking of the inherent consequences. In this case, as in the case of “A Stolen Life”, Davis inherits the dead bad sister’s myriad mix of self-imposed problems, but with worse consequences.And as veteran filmgoers have realized for many years, the family dog always knows who’s who.Karl Malden, as Davis’ earnest boyfriend (and cop) Sgt. Jim Hobbson is basically re-enacting his earnest boyfriend characterization from “A Streetcar Named Desire”, and Peter Lawford, who was a real-life playboy and drunk, (in addition to allegedly acting as a bit of a pimp for the Kennedys, circa the Marilyn Monroe/John F. Kennedy/Robert Kennedy liasons era), plays Tony Collins…the drunken playboy boyfriend of the dead bad sister, Margaret DeLorca.”Dead Ringer” was made in an era of more rudimentary special effects, so Davis’s two characters interacting almost face-to-face in some scenes was quite innovative for the time, well-done (better than the obvious stand-in used for some scenes) and still holds up well.Fun times ensue for all. Classic Bette melodrama.