Die Schlangengrube

"The Snake Pit" is based on a true story written by Mary Jane Ward in the hopes it would bring to the attention of the people, the horrors that a person faced in a mental institution at the time, pre-1948. The character, Virginia, was based on Miss Ward's own experience in a mental hospital. Even though the film was nominated for various Oscars, it only won for the musical score. I think that was probably because at the time mental illness was considered taboo. Olivia deHavilland acted the character of Virginia brilliantly as did everyone else in the film and Betsy Blair in her portrayal of Hester looked like she was completely and totally beyond help. Just look at her eyes. You will see what I mean. To this very day, I think it is the most haunting and most accurate of all films that have been released on the treatment of emotional disorders. I think all characters were portrayed as Mary Jane Ward wanted them to be portrayed, as I studied her book and watched the film while in high school in the early 1960's. Great book and a great film not afraid to show the abuse by certain medical personnel.

Touted as the first film explicitly recounting a patient's baptism of fire in a mental institution, THE SNAKE PIT, directed by Anatole Litvak and starring a doughty Olivia de Havilland (102-year-old-young as of today) as our protagonist Virginia Cunningham, still pluckily holds court after seven decades have elapsed.

Litvak's opening swiftly plunges audience together with Virginia in her wandering mental state in medias res, a woman discernibly suffers from amnesia and dogged by hallucination (the voice in her head), has no inking of her whereabouts and the impending revelation of being locked up inside a psychiatric hospital for women shocks her to the core and simultaneously piques our curiosity, what is wrong with her?

The puzzle will be solved by a meandering but ultimately satisfying and commendably less lurid approach, through the intermittent flashback fragments, first from Robert (Stevens, a carbon copy of Dennis Morgan, the star in Sam Woods's KITTY FOYLE, 1940), her clueless but all-too-understanding foil hubby, and in time, by way of the radical therapies at the behest of Dr. Kik (Genn, exceptionally transmits a clinical yet personable poker-faced sensibility), through Virginia's own endeavor, which accumulatively dredges up her subconsciously suppressed memories, and traces the root of her condition in her Electra complex at a very young age and ensuing guilt germinates after the death of her father and another father figure.

The script conscientiously shirks any shocking-value manipulation, and patiently unfolds Virginia's tale-of-woe with a limpid sense of scientific correctness (electro-shock therapy, hypnotherapy, hydrotherapy and straitjacket, the whole package is here) and a winning consideration toward our heroine, whose taxing waxing-and-waning battle (the lowest point is to being thrown into the titular snake pit, a place for those who are beyond help, with an added figurative signification of the extreme means subjected to them, to treat insanity with insane action) against schizophrenia earns the auspicious ending over the long haul fair and square.

The story's positive overlook on Virginia's recuperation doesn't necessarily overshadow Litvak's unsparing depiction of an overpopulated institution, regulated by its own echelons and bureaucracy, yet, in presenting the often vilified hospital staff, he maintains a perspicacious mind, there are good apples and bad apples, but mostly they are just trying to do their overloaded job and occasionally are afflicted by career fatigue, even the most callous one, nurse Davis (quite a scene-stealer Helen Craig), turns out to be driven more by her self-seeking consciousness than sadistic vileness. Time and again, the film proves that each head case is an entrancing thespian per se (great cameos from Celeste Holm, Beulah Bondi, Lee Patrick, Betsy Blair and then some), but a striking vibe of sororal unity points up Litvak and co.'s humane disposition that overpowers any attempt of caricature or exploitation.

A de-glamorized de Havilland pours herself all on her character, brilliantly alternates between Virginia's manifold frames-of-mind, running the gamut from intense distress to heart-felt compassion, and makes the movie a compulsive viewing even just for the sake of her performance alone, whereas in those quieter moments, she can also make her marks in imparting Virginia's transient displacement with nuances and bonafides, a sterling showcase for her acting chops, and a compelling case study that doesn't relinquish its rapier-like perception for the sake of dramatization, more importantly and edifyingly, THE SNAKE PIT alerts us that it is not that rare for a person to go off the trolley, damage might have be done from the very start.

Anatole Litvak 's interest in madness didn't begin with "the snake pit" In one of his thirties French movies,"Coeur de Lilas" ,one sequence depicted a person gone crazy and it was already impressive.

Some will say times have changed and the hospital which Litvak depicts is a thing of the past.Sure it is.But what could he have done?Just have a look at the scenes in an insane asylum in Mankiewicz ' s "Suddenly last Summer"(1959) or those in Georges Franju's "La Tete Contre les Murs"(1960)?A decade later ,mentally ill people were still regarded as monsters.That scene in "Suddenly..." where Elizabeth Taylor accidentally ends up with the raving mad women and which is not in the original Tennessee Williams' play was certainly influenced by "the snake pit" .Some will say the Freudian methods are childish and simplistic .They are for sure.But have a look at Gregory Peck's treatment in "Spellbound" (1945) or De Havilland's in "Dark Mirror" (1946).And I love all those movies I mention.60 years on.Think of it.People will not argue when they watch a school or a prison of long ago.That's why I do not understand the "It has not worn well" which too many critics (mostly European) use when they talk about Litvak's 1948 film.

One thing which has worn well is De Havilland's performance.After being Erroll Flynn's fiancée in (excellent) movies by Walsh or Curtiz ,she tackled much more ambitious parts after the war.She was never afraid to make herself ugly

or old ("the heiress" "hold back the dawn"),she and her peer Bette Davis were actresses ahead of their time ,not just pretty faces as too many contemporary actresses are today.It's no wonder if Davis named Meryl Streep "her successor" .

In "snake pit" De Havilland's acting should be studied by future actresses .She can express everything ,and the moments when she becomes a human wreck down in a "snake pit" (the snakes might be all those arms and hands)are the most impressive.

Olivia DeHavilland gives another standout performance in "The Snake Pit," also starring Leo Genn, Mark Stevens, and Celeste Holm. In line with the interest in psychiatry after World War II, Darryl F. Zanuck, always at the forefront of social issues, produced this film, directed by Anatole Litvak.

DeHavilland plays a troubled, often disoriented woman with unexplained mood swings who winds up in a state mental hospital with no memory of her new husband (Mark Stevens). She becomes a patient of Dr. Kik (Genn) who patiently works with her to try and get to the core of her problem, and to do so, employs several rounds of electroshock therapy. Together they uncover suppressed memories.

One thing that's noticeable about the films of the golden age is their mastery of the art of the build-up, while today, screenwriters get to the point in the first 10 minutes of the film. "The Snake Pit" is very modern in this way, starting on a high note and working backwards into what brought this woman into the hospital. Given the story, it's very effective. It also keeps you guessing because the conditions at the mental institution, as well as the behavior of some of the staff and the patients makes one suspect something sinister is going on - kind of a "Shock Treatment" scenario. It takes a while to realize that Dr. Kik is on the level, a concerned and committed doctor.

The film is beautifully done, and who can forget the overhead "snake pit" shot toward the end of the film. The song "Going Home" sung by one of the patients at a dance is one of the best moments, as are the harrowing scenes of the electroshock therapy and the bath with the covering over it that DeHavilland is put into - the feeling of being trapped and having no control is pervasive throughout the film. With the advancement in medications today, one aches for the characters, trapped in illnesses often not understood or treatable.

Olivia DeHavilland is sympathetic and heart-wrenching as Virginia, a woman panicked by behavior she can't recall or can't control. When backed up against the wall, her voice changes and becomes harsh; she almost seems like a split personality. One believes every second of her torment. Leo Genn strikes the exact right note as Dr. Kik, a perfect combination of gentleness, concern, and professionalism. His scene at the dance and his final scene with DeHavilland are very touching and especially the last moments bring me to tears. Mark Stevens gives a sensitive performance as Virginia's handsome and loving husband who is loyal to her throughout her ordeal.

There has been much progress in mental disease and removal of much of the stigma. "The Snake Pit" reminds one of a more primitive time. Wonderful performances, direction, and a good story make this a true classic.

Considered brutal and scary in the day of its initial release, "The Snake Pit" was a ground-breaking film with its look into the horrors of a mental institution. Giving the film its vibrancy and life is the elegant Olivia De Havilland. This fine actress goes to town in this fascinating portrait of a young woman, Virginia Stuart, who, soon after marriage to the handsome Robert Cunningham (Mark Stevens) , descends into a world of paranoia and insanity. He takes her to an institution, but conditions there are foreign to Virginia. This Hollywoodization of life in a mental hospital, though tame compared to reality, still packs a punch. We follow this delusional woman as she tries to come to grips with where she is, falls in love with her kind-hearted doctor, Mark Kirk (Leo Genn), befriends other patients, and tries to hide out in the hospital. Celeste Holm has a minor, but welcome role as Grace, a fellow patient who takes a liking to and protects the confused Virginia.

What a score for the lovely De Havilland! She really gets to show her stuff in this emotional role, and got an Oscar-nomination for her efforts. And kudos to director Anatole Litvak for a wonderful, but hard-to-take visit into a woman's not-all-there mind and her institutionalized world.