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A black prison psychiatrist is assigned the distasteful task of helping a paranoid American Nazi charged with sedition.

Directors:

, (uncredited)

Writers:

(screenplay), (screenplay) | 1 more credit »
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Nominated for 1 Golden Globe. See more awards »

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Cast

Complete credited cast:
...
...
Patient
...
Young Psychiatrist
Carl Benton Reid ...
Chief Medical Officer
Mary Munday ...
Bar Hostess
...
Tavern Owner
Gilbert Green ...
Jewish Father
...
Boy Patient
...
Jimmy
Lynn Loring ...
Jewish Girl
Anne Barton ...
Mother
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Storyline

An African-American prison psychiatrist (Sidney Poitier) finds the boundaries of his professionalism sorely tested when he must counsel a disturbed inmate (Bobby Darin) with bigoted Nazi tendencies. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

FILMED IN BLACK, IN WHITE, IN RAGE!... a motion picture without a safety valve!

Genres:

Drama

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Details

Country:

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Release Date:

11 July 1963 (Mexico)  »

Also Known As:

Die Sprache der Gewalt  »

Filming Locations:


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Technical Specs

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Sound Mix:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Producer Stanley Kramer directed the framing story. See more »

Quotes

Doctor: [furiously to the patient] You crud! You vicious, slimy. rotten little crud!
[He slams the door]
Doctor: Let me tell you something. Do you know what I wanted most? Despite what you are and despite what you were, I wanted to help you. I wanted to kill you. I would enjoy to kill you right now with my bare hands. But more than I wanted to kill you, I wanted to help you. Know what that makes me? More than a good man that makes me a doctor!
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Soundtracks

Here Comes the Bride
("The Bridal Chorus") (uncredited)
Composed by Richard Wagner (1850)
Sung at bund meeting
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User Reviews

Rod Serling meets Michael Powell
27 August 2000 | by (USA) – See all my reviews

I don't know why this film is virtually unknown. For its time it must have been very controversial and even today it still packs a wallop of a punch. But I am as equally impressed by the style of this film as I am with the performances and the screenplay. Fans of THE TWILIGHT ZONE will feel right at home with the stark B&W stylization of the dream sequences and the childhood flashbacks. Yet like any great film, it doesn't let its style overwhelm the viewer. It simply acts as a springboard from which it can stun the viewer with the emotional impact of the story. It takes a lot to shock me, yet the flashbacks of the patient's childhood (especially one terrifying scene in a meat hanger that reminded me of the father-son relationship in PEEPING TOM) chilled me with its honest portrayal of childhood terror and helplessness. The other aspect of this film that intrigued me was the whole analytical forum of intellectual cat-and-mouse between patient and doctor. Realistically, an adult black man in the 1940s would have built up a shield to fend off the kinds of brutal statements made by his patient. But the patient's high intelligence throws Poitier off guard. He makes Poitier confront the injustices and indignities present in the country that he is so vigorously defending, thus he makes him confront his own anger and contempt. He makes Poitier an ally in anger, and that would throw anyone off balance. I also want to congratulate the film for its honest portrayals of terror and humiliation. An abusive game of tic-tac-toe in the hands of another director and actor would have come off as silly, but here it is startling and chilling. I don't know why Bobby Darin didn't continue his career with more dramatic performances like this but I'm grateful that this one is out there on video. It's one of the best performances that I've seen by an actor in anything!


26 of 27 people found this review helpful.  Was this review helpful to you?

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why so unknown? starman2003
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