Divorced working woman Alex and well-to-do Jewish family doctor Daniel Hirsh share not only the same answering service but also the favours of young Bob Elkin who bed-hops between them as ... See full summary »
Three separate stories concerning relationship issues are presented, each largely taking place in suite 719 of the Plaza Hotel in New York City. In story one, suburban New Yorkers Sam and ... See full summary »
Loosely based on the life of Marilyn Monroe, the story of a young woman destined from childhood on to be adored by millions but unhappy in her own life. Patty Duke plays Emily Ann Faulkner ... See full summary »
Avoiding to settle in a nursing home, Joseph Kotcher, a retired salesman, is obliged to leave his son's family. He embarks on a road trip during which he strikes up a friendship with a ... See full summary »
Arthur Goldman is a rich Jewish industrialist, living in luxury in a Manhattan high-rise. He banters with his assistant Charlie, often shocking Charlie with his outrageousness and ... See full summary »
Herbert Bock is chief of medicine in a major teaching hospital. His wife has left him, he is impotent and his children have both disowned him. He is toying with the idea of suicide when patients begin dying, not from complications, but from the erroneous treatments the Hospital is giving them. People in the wrong beds are given wrong medicines, sent to operating theaters for incorrect surgery, and found in waiting rooms dead of natural causes. Barbara Drummond has come to take her comatose father back to the Sioux reservation where he operates a clinic and they each reach out to each other for emotional support, as a shadowy figure stalks the patients and staff of the hospital. Written by
John Vogel <email@example.com>
Barbara Drummond (Diana Rigg)'s English voice is explained in this New York-set film's storyline as being attributed to being a Vassar College accent. This educational institution is described by that campus' website as being "a highly selective, residential, liberal arts college located in the heart of the Hudson Valley in New York State". See more »
In the Emergency Room, the dead patient's eyes and head change positions between the time Mrs. Cushing and Dr. Spezio look at him. See more »
This is Dr. Ives. He's in the Nephrology Lab. I was in there a little while ago, and he was suddenly taken ill, and I thought I'd better get him over here right away. He had at that time perhaps an hour to live. Prompt treatment would have saved his life. As a staff doctor, he was seen without preliminaries... His vital signs were taken, an electrocardiogram... which revealed occasional ventricular premature contractions. An intern took his history... and then he was promptly... simply... ...
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Although Barnard Hughes played two distinct roles, the end credits lists Hughes as playing the role of Drummond but not Dr. Mallory. See more »
A bustling, sharply written, dated but also timely look at the changing world of 1971
George C. Scott is amazing, just terrific as a struggling, aging, world-weary doctor. A couple of the speeches he gives (from the sharply written screenplay) are first rate quotable stuff. See this movie for him alone.
Overall, this is certainly a New Hollywood movie, straight out of the late 1960s politics and sexual revolution. It's also a bit of a middle-aged male fantasy (the director and writer and main actor being of course all middle aged males). I mean, a key line in the movie is when young and slightly batty Barbara, played by Diana Rigg (Emma Peel in the television series "The Avengers"), says to the very middle aged George C. Scott, "I have a thing for middle aged men." Or something to that effect--and you know what happens next.
But that's the weakest part of the movie. The best part is the hospital scene itself, the chaotic and scary lack of medical professionalism at an under-funded big city medical center. Scott plays the chief of medicine, Dr. Bock, and he gradually sniffs out a truly murderous element to the place, a kind of whodunnit built into this otherwise growing drama of doctors inside and protesters outside (usually) and a general sense that the old order isn't able to keep order against the rising restlessness of young people and their demands.
In a way, the flakiness of Barbara and the rock-steady but yet suicidal authority of Bock are symbolic of the two sides, the two generations, that signified so much back then. Barbara suggests dropping out and turning on, and the doctor grows to the idea. I mean, who wouldn't in his shoes, having Diana Rigg begging you to leave your miserable job and life and moving to the mountains of Mexico to make babies. That's no exaggeration--that's the carrot, and the doctor sees it the way many people saw it then, the escape as a reasonable alternative to a crumbling world.
And yet, the hospital has needs, like dying people, and a group of people displaced from their apartment building next door, and of course this murderer on the loose.
In a way, it's a sloppy, terribly constructed movie. But it has an element of abandonment and realism from the era that really works. If you just go along with the superficial parts of the plot, which are fun, you might just get sucked into the tawdry medical world in 1971 Manhattan.
The writer, by the way, is Paddy Chayefsky, and he won his second Oscar for this screenplay. It was considered that timely and sharp at the time, and there is some terrific writing, some really good dialog to keep it humming. (He did a ton of television, but also next wrote the screenplay for "Network," winning his third Oscar for that.)
The director, Arthur Hiller, moved from 1960s television to movie directing and made a lot of middling fare, though a few became well known such as "Love Story" (1970) and "Man of La Mancha" (1972). The cinematographer Victor J. Kemper is straight out of New Hollywood and his style feels beautifully unpolished and complex (he went on to do a lot of solid movies, some really terrific like "Dog Day Afternoon"), and this helps hold the disparate plot elements together.
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