Follow TV Tropes


Film / What Ever Happened to Baby Jane?

Go To
"Butcha are, Blanche! Ya are in that chair!"

"What ever happened to Baby Jane?
To her smile, her golden hair?
Why must everything be so unfair?
Is there no one left to care
What really happened to Baby Jane?"

A 1962 Psychological Thriller film directed by Robert Aldrich, starring Bette Davis and Joan Crawford.

Aging sisters Blanche (Crawford) and "Baby" Jane Hudson (Davis) live together in a decaying Hollywood mansion. Jane is a former vaudeville child star from the 1910s, but her fame disappeared a long time ago. Blanche, meanwhile, was a successful film actress in the '30s, but was crippled in a mysterious car accident involving Jane and is now confined to a wheelchair.

Jane is mentally disturbed, an alcoholic, and greatly resents Blanche. When she learns that Blanche plans to sell the mansion and put her in a sanitarium, things really start to go downhill. Jane's mental state gradually worsens, and she becomes emotionally and physically abusive to her sister, eventually holding her hostage.

Nominated for five Academy Awards, winning for Norma Koch's costume design. Followed two years later by a Spiritual Successor, Hush... Hush, Sweet Charlotte, also directed by Aldrich and starring Davis, but with Olivia de Havilland in the Crawford part. Aldrich dipped into the genre a third time in 1969 by producing (though not directing) What Ever Happened to Aunt Alice?, starring Geraldine Page and Ruth Gordon. Baby Jane itself was remade in 1991 as a Made-for-TV Movie, starring real-life sisters Lynn and Vanessa Redgrave as Jane and Blanche. It doesn't seem to have been poorly received by critics, but it didn't make much of an impression either.

The making of the original film was dramatized in the 2017 FX anthology series Feud, with Jessica Lange as Joan Crawford and Susan Sarandon as Bette Davis.

Contains examples of:

  • 20 Minutes into the Past: The main portion of the film claims to be set "yesterday".
  • Adaptation Dye-Job:
    • Jane is blonde and Blanche is brunette in the original. In the remake, Jane becomes a redhead and Blanche now has grey hair.
    • In the original novel, Jane is the brunette and Blanche the blonde; adult Blanche's beautiful blonde hair is what launches her into stardom.
  • Adaptational Heroism: As in the book, Blanche is revealed as the culprit behind the accident that crippled her. But the book also reveals that Blanche prevented Jane from seeking psychiatric help afterwards, worrying that she would remember what happened if she did. This is mostly left out of the movie (Blanche was still very reluctant to call the psychiatrist for Jane, but no particular explanation was given).
  • Adaptational Jerkass: Ironically with the above. Blanche in the book called their lawyer to sell the house only after noticing Jane's deteriorating sanity, and Jane overhears and calls her on it instantly. In the film, Blanche made the call weeks ago, has been hiding it from Jane and initially tries to tell a lie about their finances to make herself seem better.
  • Adapted Out: The novel states that the two girls went to live with their aunt after their parents died of influenza, and that was how Blanche got into films. The movie just cuts from 1917 to 1935 when Blanche is already a film star, with no mention of an aunt.
  • Added Alliterative Appeal: The young Baby Jane Hudson is billed as "the diminutive dancing duse from Duluth".
  • The Alcoholic: Jane, who's reduced to imitating Blanche's voice to order liquor when the store is told not to serve her anymore.
  • Alone with the Psycho: Due to being paralyzed from the waist down, Blanche spends the majority of the film trapped in her house with her increasingly mentally unstable sister.
  • Asshole Victim: Blanche, as it turns out: she was the driver in the infamous car crash, having tried to run Jane over, only to miss and break her back due to crashing the car. She's spent all the years since then letting Jane, who doesn't remember things correctly due to having been drunk at the time, believe she was indeed the one who crippled Blanche and forcing her to wait on her hand and foot.
  • Ax-Crazy: Jane devolves into this.
  • Beauty Equals Goodness: Jane has aged horribly and is the antagonist, whereas Blanche has aged gracefully. Subverted with the reveal that Blanche tried to kill Jane and let her believe that she was the attacker all these years. note 
  • Beauty Inversion: Bette Davis happily did this to play Jane, as noted above. Joan Crawford on the other hand struggled to look unattractive for the role - wanting to have impeccable hair and make-up, despite being an invalid who hadn't left her room in twenty years. Although, in the book, it is mentioned multiple times that Blanche had aged gracefully and kept her good looks.
  • Big Fancy House: Jane and Blanche's mansion. It's pointed out that the house is too hard to maintain, so Blanche is planning to relocate to a smaller bungalow.
  • Bitch Alert: The moment Jane steps off the stage in her first scene you know she's going to be trouble.
  • Bitch in Sheep's Clothing: Blanche, who turns out to have actually crippled herself trying to run her sister over.
  • Black-and-White Morality: Subverted; the film is set up so you go in believing Jane is the "evil sister" and Blanche is the "good sister". In reality, as is revealed over the film, it's actually a case of Black-and-Gray Morality: Blanche tried to murder her sister back when they were movie stars, but missed and crippled herself. This ultimately leads to Jane going insane, partly due to guilt, and eventually she turns murderous as a result of her damaged mind.
  • Black Dude Dies First: Elvira is the first and, if Blanche survived, only character to die in the film.
  • Cain and Abel: Jane and Blanche Hudson, respectively. Until it turns out that this whole sad mess began because Blanche tried to be the Cain figure, only to get some Laser-Guided Karma.
  • Camp: On the surface it's a basic Psychological Thriller, but with two grand old Hollywood divas engaged in Ham-to-Ham Combat, plus some of the wackier elements of the story (like Jane serving Blanche a rat for dinner), it quickly gained an over-the-top reputation that's made it an enduring Cult Classic.
  • Chekhov's Boomerang: Jane mimics Blanche's voice mockingly early in the film. She then exploits this skill to pretend to be Blanche and get some alcohol ordered for herself. When Blanche is trying to phone the doctor for help, Jane is also able to imitate her voice to say everything is fine.
  • Childish Bangs: Both girls have these as children: Jane's bangs combined with her curls emphasize her innocent appearance, while Blanche's are cut unflatteringly high to make her seem creepier.
  • Cold Ham: In stark contrast to some of his other roles, Victor Buono plays almost all of his scenes as Edwin with quiet, immeasurable loathing for the people around him. It's not until he gets drunk and loosens up that he becomes a true Large Ham.
    Edwin: Here I come, the SUPER CHIEF! (He giggles.)
  • Cool Car: Jane's 1931 Duesenberg Model J roadster (in the 1935 scenes) and 1947 Lincoln Continental convertible (in the "present day" part of the film).
  • Creepy Child: Little Blanche, who seems to spend all of Jane's shows fixing her with a Death Glare.
  • Creepy Doll: The Baby Jane Hudson doll — creepy and menacing before anything even happens.
  • Curse Cut Short: Jane calling Blanche a bitch is drowned out by the sound of the buzzer.
  • Cute, but Cacophonic: Baby Jane's singing voice comes off as somewhat shrill, even for a little girl.
  • Daddy's Girl: Jane seems to favor her father, who indulges her whenever she throws tantrums. The book implies that his sudden death from influenza is what helped contribute to her alcoholism.
  • Dark Reprise:
    • When Baby Jane first sings the song "I've Written a Letter to Daddy" in the beginning of the story, it just comes off as a sappy kid's song. However, it becomes incredibly creepy when she sings it later as an old woman.
    • This LP version also recorded by Davis just makes it worse because she's so in character. At least, until the change of mood by the third repeat of the verse.
  • Dead Animal Warning: Jane begins denying Blanche food, until she serves Blanche's dead pet parakeet—and, at a later meal, a dead rat—to her on a dinner platter.
  • Deathbed Confession: On the beach, when Blanche thinks that she's dying, she tells Jane the truth about the car accident.
  • Defrosting Ice Queen: A really dark example. Jane starts off the film as a grumpy and bitter old woman but as she gets herself further into trouble she unravels and behaves more like a frightened child.
  • The Dog Bites Back: Jane snaps and starts abusing Blanche due to finding out Blanche has, after years of exploiting her like a servant, decided to simply send her to a mental institute. This is made all the more karmic when it's revealed Blanche wasn't crippled by Jane like she told everyone; she crippled herself by accident when trying to cripple/kill Jane.
  • The Ending Changes Everything: Let's just say there's a very good reason the film's poster warns you to watch the film from the beginning and not give away the climax, because it almost completely changes how you'll see the film afterward.
  • Even Evil Has Standards: Edwin may be a slimy greaseball who's just going after Jane for her money, but when he sees Blanche all tied up, he immediately runs out the door and contacts the police.
  • Evil All Along: Blanche was endlessly bitter about the preferential treatment her sister got as a child. The situation only declined further when they were adults, as their careers were tied together. Every film Blanche made, one had to be made with Jane, and Jane couldn't act; meaning every flop Jane made damaged Blanche's career. Finally Blanche had enough, and tried to kill her sister, but ended up crippling herself. Blanche made it look like Jane was responsible; even Jane believed this, since she was drunk, and couldn't remember the night. Thus, she was forced to live with guilt for the rest of her life. Still bitter, Blanche forced her sister to wait on her hand and foot for thirty years before Jane loses her mind, and The Dog Bites Back.
  • Evil Cripple: Blanche is revealed as this, having crippled herself whilst attempting to run her sister over with a car, then taking advantage of her sister's drunken amnesia to convince her and the public that Jane was the one who ran Blanche over.
  • Fake Boobs: According to Bette Davis in a 1987 interview with Barbara Walters, Joan Crawford wore a pair during the beach scene, and refused to give them up because she did not want to be seen on film having her natural breasts fall off to the side as they would while she was lying down. Having had to compromise much of her glamour for the sake of the role of Blanche, the fake breasts, Davis said, were the one thing Crawford refused to budge on, and they nearly knocked Davis unconscious when she had to run and fall on Crawford.
  • The Film of the Book: Adapted from the 1960 novel of the same name by Henry Farrell.
  • Foreshadowing: Blanche tries to convince Jane that the house was bought by Blanche's money, only for Jane to quickly retort that the house was bought with "Baby Jane" money. Blanche insists that Jane is misremembering, only for her sister to brush her off. It's a hint that Blanche has made a habit of preying on Jane's faulty memory.
  • Former Child Star: Jane, who had a vaudeville act back in 1917 but couldn't make it as an actress in Hollywood. In the present, she's a bitter mentally disturbed alcoholic who still dresses like a little girl and is unable to accept that nobody even remembers "Baby Jane" anymore.
  • Gaslighting: Jane's whole purpose in life seems to be torturing Blanche by making her feel defenseless and isolated. It gets so bad that Blanche won't even eat the dinners Jane fixes for her, assuming that she's serving her something disgusting. But the twist reveals it was actually the other way around: Blanche spent decades allowing Jane to falsely believe she'd caused Blanche's accident, turning Jane into an utter psychological mess.
  • Giftedly Bad: Jane. She is a terrible actress, can't sing and could only dance as a child. Jane herself thinks her talent defines her, and believes it is the one thing she can never lose. Ironically she's very good at imitating Blanche's voice, suggesting she could have cultivated other skills if she'd tried.
  • Gilded Cage: Blanche's room is quite nice, but unfortunately her sister wouldn't let her leave.
  • Girlish Pigtails: Jane in the remake instead wears her hair in pigtails.
  • The Glorious War of Sisterly Rivalry: One of the most extreme examples.
  • Glurge: Invoked and parodied with "I've Written a Letter to Daddy", an awful, maudlin vaudeville number about a little girl who sends a love note stamped with kisses to her father in Heaven. It's first heard performed by Debbie Burton in the most quavering, histrionic, off-key way imaginable, just to make it all sillier; it gets even creepier when Jane, now over 55 and with her actual father long dead, performs it again.
  • Gold Digger: Edwin is repulsed by Jane, but he still wines and dines her hoping to milk the situation for all it's worth.
  • Good Colors, Evil Colors: The fact that Jane is blonde and wears white, while Blanche has black hair and wears dark clothes, should be the first clue that all is not as it seems. It's especially noticeable because Blanche's name means "white".
  • Greying Morality: The movie seems to be about a psychotic biddy tormenting her disabled disaster. Than you learn that the disabled sister crippled herself while trying to kill her sister and spent years tormenting her, and the movie's tone changes quite a bit.
  • Hair of Gold, Heart of Gold: Jane's image as a child star was this - with angelic golden curls and a sweetheart persona. Out of character, she was most certainly not.
  • Hate Sink: Invoked and then brilliantly subverted in the twist ending. Jane's actions towards Blanche, regardless of whether she's mentally ill or not, are unreasonably cruel and despicable, and the film loves milking every opportunity it can to make you hate her even more while making you root for Blanche, so you want to see Jane eventually brought to justice. This is crucial for the final twist, where before Jane is actually arrested, we discover Blanche's true nature, which paints Jane's actions and personality, horrible as they may be, in a much more tragic light.
  • Insane Troll Logic: While explaining how they can run away from the police and never be found, Jane delightedly remarks that they'll go to the beach and "live at the seashore all the time", where she'll invite everyone to come and visit them.
  • Intimate Hair Brushing: In the remake, there's a Pet the Dog moment between the sisters when Blanche gets Jane to wash her hair and comb it. Unfortunately, Jane then starts cutting it.
  • I Was Quite a Looker: Jane was an angelic little girl and a reasonably attractive young woman but has now grown old and is a complete mess. In contrast, Blanche has aged well enough. Weirdly enough, once she learns the truth from Blanche, her face brightens up a bit.
  • Kick the Dog: Jane kills Blanche's pet bird, and serves it to her on a dinner plate.
  • Kubrick Stare: Edwin gives Jane a long, dark stare as they negotiate exactly how much Jane intends to pay him, and when.
  • Lady Drunk: The central conflict of the movie was actually caused by Jane being ridiculously drunk at a party. In her Hollywood days she was known for being a drunken mess on set.
  • Large Ham: Bette Davis' portrayal of Jane. Joan Crawford has a few moments too, resulting in Ham-to-Ham Combat.
  • Laser-Guided Karma: Blanche was crippled as a result of a car crash she caused while trying to kill her sister, Jane.
  • Leitmotif: Jane has a soft instrumental version of "I've Written a Letter to Daddy", and Blanche has a gentle, rising and falling melody.
  • Light Is Not Good:
    • Jane as a child looked angelic — with golden ringlets and dressing in frilly white dresses. But she was an immature brat. She still wears the same clothes as an adult, where she's the antagonist.
    • 'Blanche' means white, and it turns out that Blanche is the one who tried to kill Jane.
  • The Load: Each Hudson sister was this at one point. As children, in contrast to Jane, Blanche was plain-looking, untalented, and not marketable as a vaudeville act, so her Stage Mom father disliked her. When she grew up and became a successful film actress, her career was contractually tied to that of Jane, who, in addition to being a terrible actress, was also a drunk who engaged in scandalous sexual behavior. By the movie's present day, they are both this and drag each other down so much that neither is able to live anything resembling a healthy or functional lifestyle.
  • Madness Makeover: Jane went from being a very pretty but troubled young woman, to a crazy old biddy who never washes her face, styles her hair in ringlets and looks more dishevelled as her grip on sanity loosens. When Jane no longer feels guilt over crippling her sister, the reverse happens — her wrinkles disappear and she looks like a happy girl.
  • Male Gaze: On the studio lot in 1935, the producer turns and eyes a cocktail dancer's rump as she struts past.
  • May–December Romance: 50-something Jane and 20-something Edwin seem to be making tentative moves toward one, but it's more out of convenience and desperation than anything else.
  • A Minor Kidroduction: The movie's prologue takes place in 1917 when the eponymous Baby Jane and Blanche are very young, at the pinnacle of Baby Jane's career.
  • Momma's Boy: Edwin, who's well into adulthood and still lives with his mother. She even pretends to be his secretary to help him get jobs.
  • My Beloved Smother: Edwin's mother is very clingy and possessive, and gets jealous when he starts spending his time with Jane.
  • Nice Character, Mean Actor: Jane was a cutesy Shirley Temple-esque child star and a horrible spoilt brat offstage.
  • Nosy Neighbor: Mrs. Bates and her daughter often speculate on their once-famous neighbors and keep a close eye on their comings-and-goings. Might be called a subversion, in that for a while it seems as if the film might be setting them up as Blanche's rescuers, but in spite of their curiosity, they never find out what's really happening next door.
  • Not Allowed to Grow Up: A self-inflicted example. Jane still dresses as she did when she was a child, styling her hair in ringlets, refusing to believe that her Glory Days are long gone.
  • Nothing Is Scarier: A small moment when after Jane escapes with Blanche to the beach, it shows Jane happily building a sandcastle with Blanche nowhere in sight, giving the implication that Jane might have buried her. Eventually, the camera does pan to show that Blanche is still present and alive (barely).
  • Oh, Crap!: Blanche hearing the door swing closed, realizing Jane is home and listening while Blanche is calling the doctor for help.
  • One-Hit Wonder: In-universe example: Jane with "I've Written a Letter to Daddy" invoked She did appear to have other songs, but that appeared to be her most requested one.
  • The Ophelia: Jane slips into this by the third act of the film as her sanity slips. The last shot of the film has her dancing around on the beach, convinced the crowd are there to see her perform.
  • Psychopathic Womanchild:
    • Despite being in her mid-fifties, Jane has the mental age of her 10-year-old self. She dresses and acts like a little girl and is immature and impulsive even before her Sanity Slippage sends her completely off the deep end.
    • Though she hides it better, Blanche is also quite petty: murdering her own sister out of pure sisterly rivalry, lying about it, and using that lie to abusively manipulate her own sister for decades.
  • Questioning Title?
  • Race Lift: The cleaning lady in the book was a white woman called Edna. In the film, she's a Black woman called Elvira.
  • Rage Against the Reflection: Jane when she gets a good look at herself in the dance mirror.
  • Really Gets Around: Jane in the 30s was constantly going to bed with different men, part of the reason she was The Load to Blanche.
  • Reclusive Artist: invoked Blanche disappeared from the public eye after her accident, and she's currently experiencing a revival in popularity, with her films getting featured on TV, with her appeal based in-part on curiosity about what happened to her.
  • Regal Ringlets: Jane styles her hair this way. It looked youthful in 1917, but in 1962, not only has it long gone out of fashion, it looks age inappropriate and creepy.
  • The Resenter: Both sisters. At different points in their lives, they resented the other's success.
  • Reverse Relationship Reveal: Blanche has been abused and horrifically treated by her sister Jane, who crippled her for life while attempting to kill her. It was actually Blanche who crippled herself trying to kill a drunken Jane, who remembers nothing of that night, and on whom Blanche has manipulatively pinned her crippling.
  • Rich Sibling, Poor Sibling: The movie has several reversals through a Decon-Recon Switch that is at the heart of the story. First, Jane is the spoiled sister, as the beloved child star and vaudeville act while her sister Blanche is shy and reserved. Then, after Jane's act falls out of favor, she becomes The Alcoholic and Blanche becomes an acclaimed prestige actress who leaves Jane totally in her shadow. Then it gets deconstructed after Blanche's car accident, when she is dependent on Jane, which Jane uses to torture Blanche and get her revenge. And finally with the revelation that Blanche manipulated Jane into taking care of her as a cripple.
  • Sanity Slippage: Jane is mentally disturbed from the start, and goes downhill over the course the film. At the end, she loses all contact with reality.
  • Scary Jack-in-the-Box: The film opens with a little girl being freaked out by one of these in 1917.
  • Self-Deprecation: When the filmmakers were looking for bad films of Bette Davis to use for Jane's bad films, she said any of her early 1930s ones would do.
  • She Knows Too Much: Jane murders Elvira, after she finds out that Jane is keeping Blanche as a captive.
  • Shirley Template: "Baby" Jane Hudson.
  • Shrine to Self: Jane has one of these in her room.
  • Silver Fox: Blanche in the remake has grey hair (she's played by Vanessa Redgrave) but is still presented as having aged gracefully.
  • Sibling Rivalry: Jane was the famous sister in their childhood, while Blanche became the famous one as they grew older. It's heavily implied that Jane resented this immensely, and then resents having to serve as Blanche's caretaker. Likewise, Blanche resented Jane's childhood stardom and then the fact that, when their roles were reversed, Jane was a detriment to her own Hollywood success.
  • Slipknot Ponytail: Blanche's hair comes unraveled out of its updo as Jane's treatment of her worsens.
  • Small Name, Big Ego: Jane has no idea that "Baby Jane Hudson" has been totally forgotten, and thinks lots of people would love to see her make a comeback.
  • Sound-Effect Bleep: When Blanche is buzzing for Jane, Jane mutters, "You... miserable BZZZZ."
  • Spoiled Brat: Young Jane was like this.
  • Stage Dad: It's implied that the Hudson father was like this, as he doesn't discipline Jane and indulges her at every opportunity. By contrast, their mother seems to have been more reasonable.
  • Stepford Smiler: Blanche has always been a big one, but is forced to fake it even more to placate Jane as she gets crazier and more violent.
  • Stock Footage: Clips from real Bette Davis movies Parachute Jumper and Ex-Lady are used to show how Jane Hudson's attempt to make it as a grown-up actress went bad.
  • Stylistic Suck:
    • Early in the film, studio executives watch scenes from Jane's films, and note that she's an awful actress. However, those were real scenes from the early movies of Bette Davis.
    • "I've Written a Letter to Daddy" is extremely sappy to begin with, and becomes downright creepy when performed by the middle-aged, mentally disturbed Jane.
  • Take Our Word for It: We never find out what Jane wrote about Blanche on the envelope containing her fan letters, with Elvira only saying, "I can't remember the last time I saw words like that written down". (In 1962, it probably would've been impossible to say such words in a movie.)
  • Then Let Me Be Evil: Since Jane thought she had crippled Blanche, she apparently snapped and became cruel because she thought that she was a bad person and played the part of an evil sister. When she finds out she was totally innocent, she reverts to a sweet, innocent girl — note the use of soft lighting from then on.
  • Timeshifted Actor: Jane and Blanche as children are played by June Allred and Gina Gillespie. But averted with them as young women. They're not shown from the waist up, and actual archive footage of Bette Davis and Joan Crawford was used for Jane and Blanche's films.
  • Too Dumb to Live: Elvira, despite knowing for a fact that Jane is mentally unstable, leaves a hammer within her reach and turns her back on her. She doesn't make it more than a few steps into Blanche's room before she's killed.
    • Goes double for Dominick in the remake, who inexplicably stops helping Blanche to put down the scissors he's using to cut her free (positioning them on the bed in such a way that it's almost like he's trying to make it convenient for Jane to grab them), and who, unlike Elvira in the original film, had already seen Jane get physical with him while he was heading up the stairs, making his decision to turn his back to her and leave a sharp object within her reach even more baffling.
  • Twist Ending: At the end, the secret of the accident is revealed by Blanche. It was thought by everybody (even Jane, who was drunk and couldn't remember) that she tried to kill Blanche, but it was actually the other way around. Blanche tried to run over Jane, who was able to get out of the way in time, and instead Blanche snapped her own spine as the car crashed.
    Jane: You mean all this time, we could have been friends?
  • Uncanny Valley Makeup: Jane, so, so much. Bette Davis suggested the idea she never washes her face, she just cakes new makeup on every day.
  • Uncertain Doom: If Blanche is still alive by the end of the film, she's certainly got a rough road ahead of her, being an older disabled woman who has spent a long period of time being malnourished and physically abused. And that's not including the possibility of Jane becoming lucid enough to tell the world how Blanche really snapped her spine...
  • The Unfavorite: Blanche in the 1910s. Her father seems to openly dislike her and though her mother is kinder to her, she is largely overlooked. It's quite possible the roles are reversed when the sisters go to live with their aunt, who openly favors Blanche the same way their father favored Jane.
  • The Unreveal: Does Blanche die there on the beach, or not? We'll never know.
  • Unwitting Instigator of Doom: Mrs Bates asks Jane about hiring Elvira, unknowingly revealing that she's just gone into the house to untie Blanche and rescue her. Jane then kills Elvira, disposes of the body and this leads to Blanche's eventual death too.
  • Victoria's Secret Compartment: When Jane confronts Blanche about the letter she tossed to Mrs. Bates, she yanks it out of her cleavage.
  • Villainous Breakdown: Jane goes completely insane at the end, and when she's discovered by the police, and as a crowd gathers around her, she starts her old song-and-dance routine.
  • Villain Protagonist: The story is focused on the unrepentantly horrible Jane. And the psychologically abusive Blanche.
  • Voice Changeling: Jane can perfectly imitate Blanche's voice.
  • Wham Line: Blanche's confession to Jane of the night Blanche was paralyzed in a car wreck. An accident that Jane was led to believe for almost thirty years was her doing.
    Blanche: You weren't driving that night.
  • What Have I Become?: Jane freaks out when she happens to glance in the mirror when she's reliving her child star career and sees her ravaged, sagging, horribly made up face staring back at her.
  • White-Dwarf Starlet: Baby Jane, of course. Also a Former Child Star. Just to complete the trifecta, from what little we get to see of when she was a star, she was The Prima Donna. And she seems to have stayed that way...
  • Younger Than They Look: Jane looks like someone who's in her 80s or 90s despite being in her 50s.