After opening a convent in the Himalayas, five nuns encounter conflict and tension - both with the natives and also within their own group - as they attempt to adapt to their remote, exotic surroundings.
A man wanders out of the desert after a four year absence. His brother finds him, and together they return to L.A. to reunite the man with his young son. Soon after, he and the boy set out ... See full summary »
Harry Dean Stanton,
In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at ... See full summary »
How do we understand faith and prayer, and what of miracles? August 1925 on a Danish farm. Patriarch Borgen has three sons: Mikkel, a good-hearted agnostic whose wife Inger is pregnant, ... See full summary »
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
Schoolteacher and family man Ed Avery, who's been suffering bouts of severe pain and even blackouts, is hospitalized with what's diagnosed as a rare inflammation of the arteries. Told by doctors that he probably has only months to live, Ed agrees to an experimental treatment: doses of the hormone cortisone. Ed makes a remarkable recovery, and returns home to his wife, Lou, and their son, Richie. He must keep taking cortisone tablets regularly to prevent a recurrence of his illness. But the "miracle" cure turns into its own nightmare as Ed starts to abuse the tablets, causing him to experience increasingly wild mood swings. Written by
Eugene Kim <email@example.com>
The young actor playing a cameo role as a student who is drawing a picture of a man who is angry with his mother (when Ed briefly covers a class for a co-worker) is Jerry Mathers, who would go on to play Beaver in "Leave It To Beaver" a few years later. (mentioned in DVD commentary if you'd like to check it) See more »
37 minutes into the movie, Ed is at the bathroom sink and has just replaced the pill bottle in the medicine cabinet. As he closes the cabinet door, the director and the camera are reflected in the mirror. See more »
Warning against prescription-drug abuse, or guerrilla attack on 50s complacency?
Bigger Than Life does to cortisone what Reefer Madness did to cannabis. Based on a true report published in The New Yorker, it's an exasperatingly schizoid movie that seems on the verge of boiling over into scalding social satire but stays within the safe confines of its premise or its gimmick.
Schoolteacher James Mason lives a self-admittedly `dull' life trying to provide for wife Barbara Rush and their son by moonlighting as a cab dispatcher (a fact which he keeps secret but which ends up having no impact on the plot). He's also hiding a series of incapacitating attacks until he's diagnosed with a rare arterial disease, for which the treatment is the new `miracle' drug cortisone.
It works so well he starts popping it compulsively, and soon he's skittering along a grandiose, manic parabola: Tossing around his old college pigskin inside the house, buying haute couture for the mousy Rush, spouting crackpot theories on child-rearing at PTA meetings. Next he's forging prescriptions, whipping his son into shape by withholding meals until the dunce gets his math homework right, and planning a Biblical sacrifice.
The original article had to have focused on the drug's side effects how its use or misuse can cause psychotic symptoms among some patients. But what should have been a documentary got pumped up into a color potboiler. Somewhere along the way it, like Mason, took leave of its senses it's like Father Knows Best: The Episode From Hell.
Not only does everyone realize that Mason's flamboyantly deranged, they know why: the cortisone. But in the rigid world of middle-class conformity appearances are paramount, so they act as if nothing is amiss. So even when Mason is tearing around after their son with a pair of scissors while ranting about Abraham and Issac, Rush is still humoring him and whispering into the telephone. She has no trouble eating the faces off his doctors (a detail that's out of character), but with her lord and master she might as well be a Stepford Wife.
Is this a case of Illness-as-Metaphor? Under cover of a drug-scare movie, is Bigger Than Life really a guerrilla assault at patriarchal America in the 1950s? If so, it pulls too many punches (or had its punches pulled for it). As it survives, Nicholas Ray's Bigger Than Life does take a lurid look at a terrifying disorder: Codependency.
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