Ever get that weird feeling that Bette Davis was born to play her own worst enemy? Well, she basically did. In 1964, a movie called Dead Ringer hit the screens, and honestly, it’s one of those "how did they film this?" relics that still feels kinda greasy and brilliant today. If you’ve only seen her in What Ever Happened to Baby Jane?, you’re missing out on the moment she decided to take that "hagsploitation" energy and double it. Literally.
She plays twins. Two of them. One is a rich, icy socialite; the other is a struggling, chain-smoking bar owner. It’s a classic setup, but the way Dead Ringer movie with Bette Davis handles the sibling rivalry is way more unhinged than your average 60s drama.
The Setup: Revenge is a Dish Best Served... by Yourself?
So, here’s the gist. You’ve got Edith Phillips, who runs a dive bar in Los Angeles and is basically drowning in debt. Then you’ve got her sister, Margaret DeLorca. Margaret is filthy rich. Why? Because eighteen years ago, she stole the man Edith loved and married him. Talk about a grudge.
When the husband dies, the sisters reunite at the funeral. This is where the movie really starts to cook. Edith finds out that Margaret didn't just steal her man—she lied about being pregnant to trap him into marriage. That’s the breaking point. Edith decides she’s had enough of the "poor twin" life. She lures Margaret to her apartment, shoots her in the head, and stages it to look like a suicide.
Then comes the fun part: Edith steps into Margaret’s shoes. She moves into the mansion, tries to mimic the fancy accent, and hopes the servants don't notice she’s a total fraud.
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The Director Who Knew Bette Best
One of the coolest things about this flick is who was behind the camera. Paul Henreid directed it. If that name sounds familiar, it’s because he was the guy who lit two cigarettes at once and handed one to Bette in Now, Voyager. They were old friends, and you can tell.
Henreid knew exactly how to capture the "Davis" of it all—the bulging eyes, the frantic smoking, the way she could make a simple line sound like a death threat. He also didn't shy away from the technical nightmare of putting two Bette Davises in the same frame. For 1964, the split-screen effects are surprisingly seamless. You aren't just looking at a body double’s back; you’re watching Bette talk to Bette.
Why the Supporting Cast Matters
Even though Bette eats every scene she’s in, the men around her aren't just cardboard cutouts.
- Karl Malden: He plays Jim, a police detective who was actually in love with the "poor" twin, Edith. He’s the moral compass, and watching him interact with Edith-posing-as-Margaret is painful. He thinks he's losing his mind because this rich lady reminds him so much of his dead girlfriend.
- Peter Lawford: Pure sleaze. He plays Tony, Margaret’s secret lover. He’s the first one to realize something is "off" with the new Margaret, mostly because he knows her secrets (and her bank account) better than anyone.
Is It a Remake? Sorta.
People often get Dead Ringer movie with Bette Davis confused with her earlier 1946 film, A Stolen Life. In that one, she also played twins where one assumes the other's identity after a drowning accident.
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But while A Stolen Life is a romantic melodrama, Dead Ringer is a pitch-black noir. It’s gritty. It’s got a score by André Previn that sounds like a panic attack. In the 40s version, the switch happens by accident. In Dead Ringer, it’s cold-blooded murder. That shift tells you everything you need to know about how Hollywood changed in those twenty years.
The Ending Most People Forget
No spoilers here, but the ending of this movie is legendary for being incredibly dark. There’s a specific irony involved with a giant Great Dane (yes, the dog) and a crime Margaret committed years ago that Edith had no idea about.
It’s the ultimate "be careful what you wish for" scenario. Edith wanted Margaret’s life, but she didn't realize Margaret’s life was a literal minefield of secrets and legal troubles.
Critical Legacy and Where to Watch
When it first came out, critics were a bit split. Some thought it was too "campy" or that Bette was overacting. But honestly? That’s why we love it now. It sits in that perfect pocket of 1960s Gothic thrillers.
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The cinematography by Ernest Haller (who also shot Gone with the Wind) is gorgeous. The black-and-white shadows make the DeLorca mansion look like a haunted house. It’s currently a staple on Turner Classic Movies (TCM) and pops up on various streaming services like Max or Amazon for rental.
How to Get the Most Out of Your First Viewing
If you're planning to sit down with this classic, keep an eye on the details. Bette actually changes her voice slightly for each sister. Edith is a bit raspier, lower; Margaret is more clipped and high-society.
- Watch the hands. There’s a famous scene where Edith has to burn her own hand with a poker to hide the fact that her handwriting doesn't match Margaret’s. It’s brutal.
- Look at the dog. The Great Dane isn't just a prop; he’s basically a plot device.
- Compare it to Baby Jane. This was made just two years after. You can see Bette leaning into her "elderly powerhouse" era, where she stopped trying to be the ingenue and started being the icon.
Once you've finished the film, check out the 1946 version A Stolen Life for a fascinatng "before and after" comparison of how an actress can play the same archetype in two completely different genres. It’s a masterclass in career longevity.