Pretty Molly Lucian enlists the reluctant aid of psychologist Felix Milne in treating her potentially homicidal husband Adam, who refuses to see a "real" psychiatrist. Traumatized in a ...
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An aspiring composer, in the British Air Force for WWII, is downed in Italy and rescued by an Italian girl. He returns home to his wife, inspired to write an opera and aware that he's fallen in love with his rescuer.
Pretty Molly Lucian enlists the reluctant aid of psychologist Felix Milne in treating her potentially homicidal husband Adam, who refuses to see a "real" psychiatrist. Traumatized in a Japanese prison camp, Adam proves to be on the verge of severe schizophrenia. In his risky struggle to help Adam, Felix finds his none-too-functional home life deteriorating, and is unable to help himself as he helps others. The situation rushes headlong to a suspenseful climax... Written by
Rod Crawford <email@example.com>
Burgess Meredith had come to Britain because his wife of the time, Paulette Goddard, was starring in Alexander Korda's film of "An Ideal Husband". The marriage was in trouble and Meredith didn't want to be apart from her. Korda's company, London Films, was also producing "Mine Own Executioner", and Korda offered Meredith the lead. (The character is said to be Canadian, rather than English as in the novel). See more »
There's nothing worse than a man who makes you take off your self-respect, and keep your clothes on.
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Opening credits prologue: "There are too many Examples of men, that have been their own executioners, and that have made hard shrift to bee so; . . . . . some have beat out their braines at the wal of their prison, and some have eate the fire out of their chimneys: but I do nothing upon my selfe, and yet am mine owne Executioner."
Meredith shines in this underrated film that may be the finest depictions of the profession of psychotherapy ever made. He is first-rate as he portrays a therapist struggling with his personal flaws and profound doubts as to his effectiveness with clients. Exciting, well-written, superbly directed, and excellently filmed by cinematographer Freddie Francis, this will have a special significance to any counselor who has ever wondered if he or she was doing any good for themselves or anyone else. I saw this film first as a young boy and while I did not appreciate the subtleties in the script at the time, I found myself drawn to the character of the therapist. Eventually, I became one myself and perhaps this film planted the seed of interest in psychology and psychotherapy. When a film has that sort of impact, it is nothing less than a treasure.
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