After a devastating fire, Charlotte and John rent a countryside house and attempt to start life over, though Charlotte, upon seeing visions of her deceased daughter, retreats to the house's attic and pulls away from her husband and sister.
Based on the 1892 short story of the same name by Charlotte Perkins Gilman. Eleanor struggles with post-partum depression, however, when Eleanor's over-protective husband refuses to ... See full summary »
Charlotte Gilman's epic prose flows jazz-like in a stream-of-consciousness story of a young woman dealing with depression, a domineering husband & physician in the patriarchal world of the ... See full summary »
Confined to a strange room in a country home in order to recover from an illness, a woman becomes obsessed by the peculiar pattern of the wallpaper and the caged figure within. However at night is when things really come alive.
An uber-feminist interpretation of Gilman's short story.
The original short story was, indeed, to inform women that not all medical care of the era was helpful. The story was formed out of her (Gilman's) own personal experiences. In Gilman's original work, John is eccentric, yes; He is a stickler for structure. But he is not as cruel in the story as he is portrayed in the film. The scene where he takes her upstairs and forces himself upon her in the film? In the book, he carries her upstairs and sings her to sleep. Yes, the film does have vague feminist tones, but not nearly to the degree of the film. The sick twisting of John into an arrogant, careless doctor from a confused husband who tries his best to help is very unprofessional.
John sincerely wishes to help his wife in Gilman's original storyline; he does everything in his power to do so, using the best medical techniques of his time. The focus is on the fault in the techniques of medicine, not the fault of the man.
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