Main Cast: Sean Connery, Joanne Woodward, Jean Seberg, Patrick O'Neal, Colleen Dewhurst
Release Year: 1966
Country: US
Run Time: 104 minutes
Plot
Sean Connery attempted to make a clean break from his "James Bond" image in the boisterous comedy A Fine Madness. Connery plays Samson Shillitoe, a Brendan Behan-like poet with a mile-wide misogynistic streak. Try as he might to complete his latest masterpiece, Shillitoe is constantly interrupted by the women in his life. Driven to a nervous breakdown, he seeks help from the medical establishment -- and ends up a babbling shell of his former self. The film takes scattered potshots at a repressive society that forces the truly creative among us into near-madness; at times, it is sidesplittingly funny, though never quite as potent as the Elliot Baker novel upon which it is based. Sean Connery is brilliant, but the public wanted James Bond to behave himself, thus the film didn't do as well at the box office as it should have. ~ Hal Erickson, All Movie Guide
Review
A Fine Madness is a brave attempt by all concerned, one of those films where the powers behind it are trying so hard that the viewer desperately wants the end result to be a great film -- but it's not. It's not a bad film, mind you, and it's not a blight on anyone's record, but the reach of Madness far exceeds its grasp. Part of the problem lies with the screenplay. Elliott Baker has done a fine job of adapting his own novel, but it's easier to make an obnoxious, misunderstood character the subject of a book than of a film. The peculiar blend of wryness, irony, and whimsy also is harder to pull off, despite director Irvin Kershner's game (and sometimes successful) attempts. It's clear, of course, why Sean Connery was drawn to the film, as Shillitoe is the kind of character than any actor would give his eye-teeth to play. But, as good as Connery is -- and at times, he is quite good -- his performance is a performance; he is acting the part rather than inhabiting it. Connery's star power and charisma make his work enthralling -- but also less than involving. Joanne Woodward also tries hard, but she's not natural casting for the role. The best acting, as a matter of fact, comes from the supporting players, including a lovely turn by Colleen Dewhurst, an amusing bit by Sorrell Booke and an hilarious characterization by Clive Revill. A Fine Madness is rather unique, and there's more than enough to make it worth catching -- but also more than enough to keep it from being the kind of picture it wants to be. ~ Craig Butler, All Movie Guide
Jack Poplin - Art Director, Ann Roth - Costume Designer, Russell Llewellyn - First Assistant Director, Irvin Kershner - Director, William H. Ziegler - Editor, John Addison - Composer (Music Score), Ted D. McCord - Cinematographer, Jerome Hellman - Producer, Claude E. Carpenter - Set Designer, Elliott Baker - Screenwriter, Elliott Baker - Book Author
Samson, a poet, lives in Greenwich Village in New York with Rhoda – a waitress who stands by him through all his troubles.
When Samson cannot find the inspiration to finish his grand poem, he becomes belligerent and depressed. On Samson's behalf, but unknown to him, Rhoda seeks the help of psychiatrist Dr. West (Patrick O'Neal), who claims to be able to cure writer's block.
Rhoda gives Dr. West two hundred dollars (which Samson desperately needs; he is behind in his alimony payments) to treat Samson for what she fears will become suicidal intent if he can't finish his poem. Dr. West reluctantly agrees to see him, and when Samson confronts the Doctor about the return of his money, West is fascinated by Shillitoe and persuades him to become a patient. In order for Samson to be away from the chaos of his life in the city that he might finish his poem, Dr. West arranges a stay for him in a sanitarium upstate.
Another doctor at the sanitarium, Dr. Menken (Clive Revill) is also interested in Samson, but for the purpose of experimenting on him with a new surgical technique to quell his violent temper. He persuades Rhoda to agree to the surgery. Dr. West and two other colleagues vehemently oppose such a procedure, as it is too close to a lobotomy to be safe.
Dr. West's wife, Lydia (Jean Seberg), is frustrated with married life with the doctor. He is a popular TV guest for his pop psychiatric methods and views, and she sees very little of him. Eventually she runs in to Samson at the sanitorium. Samson does not know who she is, and the two have sex in a therapeutic bath. Dr. West, looking for Samson, secretly sees them in the tub.
When it comes time for the clinic senior staff to vote on allowing the surgical technique to be performed on Samson, Dr. West, having seen Samson with his wife, changes his vote, enabling Dr. Menken to go ahead. Lydia finds out about the surgery and rushes to stop it, but arrives just after it has been completed.
When Samson awakes from the surgery, at first his voice is so low and quiet he cannot be understood. As Dr. Menken leans in to listen, Samson throws a punch that lands the doctor on the floor. The operation has had no effect, and Samson's had enough of the place, and returns to New York.
Rhoda quickly learns of his arrival, and rushes to rejoin him. Samson has finally been served with his subpoena, so he must pay his ex-wife or go to jail. Rhoda prevents him from pummeling the civil servant, until Lydia appears and pays him the amount owed.
Lydia informs him she is leaving Dr. West and hints that she would like to be with him. Rhoda protests, as Samson invites her to come live with them both. Lydia, disgusted by the idea, is hysterical and rushes out, presumably never to speak to Samson again. Rhoda pleads with Samson as he goes charging off down the street, before informing him that she is pregnant. He accidentally punches her and the movie ends with him fighting off an angry mob of indignant spectators.
