IMDb RATING
6.7/10
2.7K
YOUR RATING
When a young woman arrives at the home of her socialite cousin, she soon gets sucked into the woman's complex web of deceit.When a young woman arrives at the home of her socialite cousin, she soon gets sucked into the woman's complex web of deceit.When a young woman arrives at the home of her socialite cousin, she soon gets sucked into the woman's complex web of deceit.
- Nominated for 2 Oscars
- 2 nominations total
Willa Pearl Curtis
- Miss George
- (uncredited)
Robert McCord
- Man
- (uncredited)
Olan Soule
- Dr. Pearson
- (uncredited)
Bill Walker
- Sam
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaJoan Crawford personally bought the film rights to Edna L. Lee's novel "The Queen Bee" for $15,000, then sold them to Columbia under the following conditions: she would star, Jerry Wald would produce, Ranald MacDougall would write the screenplay and direct the film, Charles Lang would be the film's cinematographer and she would have contractual approval of her costume, make-up and hair designers. Each of these conditions was fulfilled.
- GoofsWhen Eva is talking to Jennifer before taking a bath, the glass doors surrounding the tub go from clear to totally steamed over instantly between shots.
- Quotes
Eva Phillips: Any man's my man if I want it that way.
- ConnectionsFeatured in I've Got a Secret: Joan Crawford (1963)
Featured review
Quintessential Crawford
The producers of "Mommie Dearest" clearly took copious notes
from the real-life Crawford canon; traces of everything from
"Mildred Pierce" to "Harriet Craig" to "Strait-Jacket" show up in that
biopic-from-hell, but the film it most closely resembles is the 1955
cult classic, "Queen Bee."
Scenes of an imperious Crawford being served coffee in bed;
destroying a bedroom with a riding crop (wire hanger?); and her
children crying out in the dark are lifted directly from this movie;
and Crawford's stunning appearances in various Jean Louis
gowns--descending a grand staircase, posing in a doorway,
preening in front of a mirror--are a harbinger of the demented
fashion show Faye Dunaway would put on in her Crawford
assasination.
Like her rival, Bette Davis, Crawford is best-known for villanous
roles like this, although neither she nor Davis often played bitches;
but the times they did, the performances were so over-the-top, it's
what we remember them for. "Queen Bee" is the ultimate
late-period Crawford vehicle; she dominates every scene, even
when she doesn't directly appear in it, and her elegant bitchery is a
marvel to behold. No one, but simply no one, could throw a fur
stole over her shoulder like Joan Crawford, and certainly no one
could top her as an obsessive-compulsive, castrating shrew.
Crawford herself was happier playing heroines (like the "young"
widow of "Female on the Beach," or the brilliant playwright in
"Sudden Fear"), but she clearly was even more compelling in
full-on bitch mode. As cruel, evil and thoughtless as her character
may be, Crawford handles it with such glamour and panache, you
secretly find yourself rooting for her.
from the real-life Crawford canon; traces of everything from
"Mildred Pierce" to "Harriet Craig" to "Strait-Jacket" show up in that
biopic-from-hell, but the film it most closely resembles is the 1955
cult classic, "Queen Bee."
Scenes of an imperious Crawford being served coffee in bed;
destroying a bedroom with a riding crop (wire hanger?); and her
children crying out in the dark are lifted directly from this movie;
and Crawford's stunning appearances in various Jean Louis
gowns--descending a grand staircase, posing in a doorway,
preening in front of a mirror--are a harbinger of the demented
fashion show Faye Dunaway would put on in her Crawford
assasination.
Like her rival, Bette Davis, Crawford is best-known for villanous
roles like this, although neither she nor Davis often played bitches;
but the times they did, the performances were so over-the-top, it's
what we remember them for. "Queen Bee" is the ultimate
late-period Crawford vehicle; she dominates every scene, even
when she doesn't directly appear in it, and her elegant bitchery is a
marvel to behold. No one, but simply no one, could throw a fur
stole over her shoulder like Joan Crawford, and certainly no one
could top her as an obsessive-compulsive, castrating shrew.
Crawford herself was happier playing heroines (like the "young"
widow of "Female on the Beach," or the brilliant playwright in
"Sudden Fear"), but she clearly was even more compelling in
full-on bitch mode. As cruel, evil and thoughtless as her character
may be, Crawford handles it with such glamour and panache, you
secretly find yourself rooting for her.
Details
- Release date
- Country of origin
- Language
- Also known as
- Ehe in Fesseln
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 35 minutes
- Color
- Aspect ratio
- 1.85 : 1
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