IMDb > A Fine Madness (1966)
A Fine Madness
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A Fine Madness (1966) More at IMDbPro »

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A Fine Madness -- Sean Connery goes crazy in this trailer


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Down 27% in popularity this week. See why on IMDbPro.
Elliott Baker (screenplay)
Elliott Baker (based upon the novel by)
View company contact information for A Fine Madness on IMDbPro.
Release Date:
23 September 1966 (Finland) See more »
We should all be so crazy. See more »
Samson Shillitoe, mad genius of a poet irresistible to women but plagued by writer's block, agrees to see a psychiatrist... and his beautiful wife. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Pre counter-culture pablam See more (20 total) »


  (in credits order) (verified as complete)

Sean Connery ... Samson Shillitoe

Joanne Woodward ... Rhoda Shillitoe

Jean Seberg ... Lydia West

Patrick O'Neal ... Dr. Oliver West

Colleen Dewhurst ... Dr. Vera Kropotkin

Clive Revill ... Dr. Menken
Werner Peters ... Dr. Freddie Vorbeck

John Fiedler ... Daniel K. Papp
Kay Medford ... Mrs. Fish

Jackie Coogan ... Mr. Fitzgerald
Zohra Lampert ... Evelyn Tupperman

Sorrell Booke ... Leonard Tupperman

Sue Ane Langdon ... Miss Walnicki
Bibi Osterwald ... Mrs. Fitzgerald

Mabel Albertson ... Chairwoman

Gerald S. O'Loughlin ... Chester Quirk - Policeman
James Millhollin ... Rollie Butter
Jon Lormer ... Dr. Huddleson

Harry Bellaver ... Knocker
Ayllene Gibbons ... Clubwoman
Bernie Meyer ... Jago

Richard S. Castellano ... Arnold

Renée Taylor ... Myrna - Streetwalker
Dorothea MacFarland ... Streetwalker
Sean Keeping ... Dana Tupperman
rest of cast listed alphabetically:
Walter Bacon ... Waiter at Luncheon (uncredited)
Al Bain ... Bibman (uncredited)
Fay Bernardi ... Ugly Woman (uncredited)
Gail Bonney ... Miss Buehler (uncredited)
Mary Boylan ... Minor Role (uncredited)
Leonard Bremen ... Rhoda's Boss (uncredited)
Calvin Brown ... Boxer in Gym (uncredited)
Ron Burke ... Attendant (uncredited)
Dee Carroll ... Nurse (uncredited)
Phyllis Coghlan ... Mrs. Smeeton (uncredited)
Kevin Cooper ... Scott (uncredited)
William J. Daprato ... Minor Role (uncredited)
Diane Deering ... Minor Role (uncredited)
Nora Denney ... Waitress (uncredited)
Lester Dorr ... Mr. Smeeton (uncredited)
Bobby Gilbert ... Waiter at Luncheon (uncredited)

Sandra Lee Gimpel ... Secretary (uncredited)

Chuck Hicks ... Customer (uncredited)
Roland La Starza ... Angie - Sparrer (uncredited)
Mike Lally ... Gym Attendant (uncredited)

Fred Lerner ... Technician (uncredited)
Louise Lorimer ... Clubwoman at Luncheon (uncredited)
Jean Moore ... Lab Assistant (uncredited)
Mike Morelli ... Cook (uncredited)

George N. Neise ... Television Interviewer (uncredited)

Maidie Norman ... Waitress (uncredited)
William H. O'Brien ... Waiter at Luncheon (uncredited)
Harvey Parry ... E.L. Bingham (uncredited)
Joyce Perry ... Receptionist (uncredited)
Sammy Shack ... Bibman (uncredited)
Jack Shea ... Delicassen Customer (uncredited)

Peg Shirley ... Waitress (uncredited)
Charles Smith ... Mr. Lookoff - Junior Executive (uncredited)
Judith Stoner ... Secretary (uncredited)
Éva Szörényi ... Ava (uncredited)
John Truax ... Customer (uncredited)
Rosetta Veneziano ... Mrs. Agajanian (uncredited)
Helen Verbit ... Minor Role (uncredited)
Charles Welch ... Panhandler (uncredited)

Directed by
Irvin Kershner 
Writing credits
Elliott Baker (screenplay)

Elliott Baker (based upon the novel by)

Produced by
Jerome Hellman .... producer
Original Music by
John Addison 
Cinematography by
Ted D. McCord 
Film Editing by
William H. Ziegler 
Art Direction by
Jack Poplin 
Set Decoration by
Claude E. Carpenter 
Costume Design by
Ann Roth 
Makeup Department
Gordon Bau .... makeup supervisor
Jean Burt Reilly .... hair styles supervisor
Second Unit Director or Assistant Director
Russell Llewellyn .... assistant director
Art Department
Ward Preston .... set designer (uncredited)
Sound Department
Everett A. Hughes .... sound
Ron Burke .... stunts (uncredited)
Nancy Erickson .... stunts (uncredited)
Bill Hickman .... stunts (uncredited)
Chuck Hicks .... stunts (uncredited)
Fred Lerner .... stunts (uncredited)
Harvey Parry .... stunts (uncredited)
Jerry Vance .... stunts (uncredited)
Ron Veto .... stunts (uncredited)
Camera and Electrical Department
Frank J. Calabria .... additional photographer (uncredited)
John M. Stephens .... camera operator (uncredited)
Music Department
Dan Wallin .... score mixer
Billy May .... orchestrator (uncredited)
Dan Wallin .... scoring engineer (uncredited)
Other crew
Doris DeHerdt .... script supervisor (uncredited)
Wayne Fitzgerald .... title designer (uncredited)
Jean Shepherd .... technical advisor (uncredited)
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
104 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

The scene involving a topless Sue Ane Langdon and Sean Connery near the film's beginning was the subject of a photo feature in "Playboy" magazine.See more »
Factual errors: A sign in the restaurant where Rhoda works advertises "banannas"; this could be a set design error or a real sign from a location shoot.See more »
Mrs. Fish:[about Leonard] That mench! He's got a heart as black as the ace of diamonds!See more »
Movie Connections:


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4 out of 6 people found the following review useful.
Pre counter-culture pablam, 27 May 2010
Author: ultimessence from United States

Alright, this film is generally awful, admitedly...However, I always try to look at any motion picture in the context of it's day and in it's retrospective historical perspective.

I like to look at movies as sociological studies, and the best ones transcend their time, becoming truly timeless.

"A Fine Madness" fairly stinks of clueless farce. The filmmakers completely lacked any shred of inspiration; a must for ALL art, IMHO.

Just looked at it; it's big,loud and randy without any awareness of the cultural changes about to happen in the late 1960s. These artifacts are unintentionally funny, as with any generation gap showing the older generation trying to be hip, but just embarrassing themselves, as when the Rat Pack tried fruitlessly to stay cool in the late 60s. Hollywood was out of touch with the youth of the counter culture, and with some exceptions, like "Hard Days Night", "Alfie", "Medium Cool" and "Easy Rider", most 1960s movies that tried to look authentic and relevant to the times, failed.

So, despite its badly written characters, it's hopelessly dated Psychiatric themes, its corrosively dated sexism and the apaulingly visionless, artless presentation, there ARE a few interesting elements.

Clearly a big budget film, I was impressed by the progressive bravado that the director showed in manhandling New York City. These bold tracking shots and cunningly calculated hand held camera work was quite new for 1966. These classy looking outdoor location scenes merging actors staying in character with the hubbub of the steaming cauldren of street life in Manhattan could not have been pulled off with a small budget. Look at that amazing tracking shot of Connery running on the Brooklyn Bridge. Many neighborhoods were captured in a stunning naturalism that was unprecidented. So if nothing else, it is as amazing a record of the city as when Harold Lloyd caught it back in the 1920s.

It's too bad the story couldn't have been embued with a great script. Perhaps something about the Village, with all it's alternative zeal, and incorporating the changing times which the city was such a part of.

The Music score tried to be wacky and inventive too...One could even see elements of Danny Elfman 30 years earlier, with all the big, burlesque horns and drums. Evidently the score was trying to compensate for the dull script and shrill, yet pedestrian performances by spicing up the soundtrack. But after a while the relentless music became as grating as Joanne Woodward's shrill hollering voice.

We have to wonder what Billy Wilder or Elia Kazan would have done for this material? Sigh...But Hollywood has always been bottom line, and wants to make its profit fast. Art? Who cares. Vision? Timelessness? Feh, sez the Movie Machine that has forever pandered to the lowest common denominator.

One leaves this dreadful film with the notion that it was teetering right on the precepis of the Martini vs. Mariquana epochs and fell back into its pre-sexual revolution, postwar establishment ethos with the thud of someone who just missed his train.

Interestingly and awkwardly, one is easily reminded of one of Connery's famous statements in a latter interview where he cavalierly remarked that 'Women should be hit now and then to keep them in line', or something to that effect. One can imagine his brutish Samson saying the same thing in this antique archive of a darker time in American HIStory.

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