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The Cobweb (1955)

At an exclusive psychiatric clinic, the doctors and staff are about as crazy as the patients. The clinic head, Dr. Stewart McIver, thinks that it would be good therapy for his patients to ... See full summary »

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(screenplay), (additional dialogue) | 1 more credit »
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Cast

Cast overview, first billed only:
...
Dr. Stewart 'Mac' McIver
...
Meg Faversen Rinehart
...
Dr. Douglas N. Devanal
...
Karen McIver
...
Victoria Inch
...
Steven W. Holte
...
Sue Brett
...
Mr. Capp
...
Dr. Otto Wolff
...
Lois Y. Demuth
...
Miss Cobb
...
Mr. Holcomb
...
Rosemary McIver
...
Abe Irwin
...
Regina Mitchell-Smyth
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Storyline

At an exclusive psychiatric clinic, the doctors and staff are about as crazy as the patients. The clinic head, Dr. Stewart McIver, thinks that it would be good therapy for his patients to design and make new drapes for the library. Mrs. Karen McIver, who is neglected by her hardworking husband (and a bit unbalanced herself), wants to make her mark on the clinic, so she orders new drapes. Miss Inch, the business manager, who has been with the clinic longer than anyone, sees this as an intrusion into her territory, and she too orders drapes. All this puts everyone in a dither, as they fight over drapes and clinic politics. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Taglines:

The Story of the Strange Mansion on the Hill

Genres:

Drama

Certificate:

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Parents Guide:

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Details

Country:

Language:

Release Date:

7 June 1955 (USA)  »

Also Known As:

Die Verlorenen  »

Box Office

Budget:

$1,976,000 (estimated)
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Company Credits

Production Co:

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Technical Specs

Runtime:

| (TCM print) | (DVD)

Sound Mix:

(Western Electric Sound System)

Color:

(Eastmancolor)

Aspect Ratio:

2.55 : 1
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Did You Know?

Trivia

Film debut of John Kerr. See more »

Goofs

When Dr. McIver goes to leave Inch's place after arguing with her, a shadow of the boom microphone is visible moving on the curtain to the right. See more »

Quotes

[first lines]
Karen McIver: Can I give you a ride?
See more »

Connections

References Seven Brides for Seven Brothers (1954) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Neurotic 50s classic awaits rediscovery
6 November 2001 | by (Universal City, TX) – See all my reviews

Minnelli's "The Cobweb" explores the fascinating, disturbing idea of a mental institution where the personal quirks of the staff and their families unwittingly have an impact on the patients. In Minnelli's films, his neurotic, lonely, unsettled characters always lead to some climactic nightmarish outburst (even the musicals), but here the whole movie is really a neurotic outburst. Amazingly, it all snowballs out of seemingly the most trivial decision: the new draperies.

What's interesting is that there is no antagonist; like "Howards End" or Eastwood's "Unforgiven", all the characters do bad things for understandable reasons and thus construct the cobweb. This compares favorably with other nuthouse movies, especially ones about the group therapy system--"Cuckoo's Nest" (based on Ken Kesey's novel of 1950, 5 years before "Cobweb") and "The Caretakers" with Joan Crawford as the inflexible head nurse. Those films tend to focus on patients having hysterics and running riot. They don't indict the system but one despotic individual within it (a head nurse); Kesey's narrator claims that she represents a larger controlling force but even then shows that other wards in the hospital are not the same. However, "Cobweb" takes a more subtle nobody's-fault approach that ultimately has wider, darker implications. It implies that these pitfalls are endemic to the system because they are part of human nature, which is a more sinister idea (especially for the 50s) than being able to blame a convenient mini-Hitler. Therefore, it works more convincingly as a microcosm of a society that thinks it's healthy. It's also more salutary and hopeful than those films because it proceeds from this clear-eyed cautionary assessment.

In the true sense of "melodrama," it underlines apparently innocuous early scenes with heavy foreboding music by Leonard Rosenman. It's also astonishing to watch Lillian Gish play a b----. And she does a great job.


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