Lucy Harbin took an axe and gave her husband 40 whacks… when she realized what she’d done, she gave his girlfriend 41. Strait-Jacket is produced and directed by William Castle and written by Robert Bloch. It stars Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, Rochelle Hudson and George Kennedy. Van Alexander composed the music, and Arthur E. Arling was in charge of cinematography. Lucy Harbin (Crawford) had spent two decades in a mental institution due to the brutal axe murders of her husband and his lover. Upon being released back into society, she goes to live with her brother Bill (Erickson), where her grown daughter Carol (Baker) also resides. Soon, Lucy is experiencing disturbing visions and hearing unsettling things, and it appears that those around her are being brutally murdered…with an axe. Grand Dame Guignol It seems like a strange combination at first glance: an Oscar-winning Crawford paired with Castle, the master of gimmick-driven films, producing a movie written by Bloch, the author of the novel that would become Hitchcock's Psycho. Although it’s not really a true horror film—the kind to keep you on edge—it’s undeniably enjoyable and has a lurking sense of mischief. Sensibly filmed in black and white, Castle, who wasn’t exactly an adventurous director, did have a good feel for tone and knew what would appeal to his audience. Strait-Jacket is a strong murder mystery on paper, and onscreen it's enhanced by moments of axe-wielding terror. The fact that the protagonist—who may also be the antagonist—is a woman adds some intensity to Castle’s production, but he and the film owe a great deal to Crawford and her wonderful, over-the-top descent into self-parody. Joan Blondell was originally slated to play Lucy Harbin, but an accident at home prevented her from taking the role. Castle got lucky; he needed a star, and after Whatever Happened to Baby Jane? had revived Crawford’s career just two years earlier, she was again a well-known name. Running into Crawford at a party, Castle pitched the project to her, even pretending that the part was written with her in mind. She agreed, but Crawford had control over all of the decisions, including script revisions and selecting the crew who would work on the film. It proved worthwhile because, after a largely smooth production, the movie was successful and became one of Castle’s best films. Here, Castle had the ultimate promotional tool: Crawford herself; although he couldn't resist adding some kind of tie-in, so millions of tiny cardboard axes were made to give away to theatergoers. The film certainly references Psycho and Baby Jane, but the ending stands on its own, and there’s also a delightful moment at the very end with the Columbia Torch Lady logo being playfully altered. The actors around Crawford tend to be overshadowed by her performance, but it's generally an effective cast, and Arling’s photography blends well with the unfolding story. So, not outright horror, more of a psychological drama with some scary elements. But either way, Crawford’s performance is worth the price of admission as she delivers a memorable portrayal of a psycho biddy. 7.5/10

Source on TMDB