Manicomio

In 18th century London, Nell Bowen the protégé of Lord Mortimer is confined by the malicious asylum master, for voicing her concerns about the condition of the Bedlam asylum.

This is a pretty interesting horror film by RKO studios and producer Val Lewton. Director Mark Robson gives a reasonable job in the use of setting and characters, though it does have its flat spots and may lack suspense at times- but not enough to damage the film.

The performances are perfect with the ever-reliable Boris Karloff as the evil Master George Sims, which he brings such an evoking presence of macabre. Billy House as the pompous Lord Mortimer who is easily influence, fit's the role perfectly. Richard Fraser as the ever-helpful Hanny, who befriends Nell Bowen and tries to help her out on her quest. The best performance would have to be Anna Lee as Nell Bowen who brings a spirited and caring vibe to her character, she is disgusted in the way the upper class treat the mentally insane and tries to change that, especially when she learns a great deal about them when she is confined.

The story of the mental institution is quite interesting though at times the pace seems to be to padded- but when it focus on the manipulative Master Sims and the institution, especially when Nell is detained it has a disturbing aurora that draws you in, though nothing that shocking. The grim atmosphere, especially the asylum is really top-grade, the cinematography is alright- with great use of lighting and shadows and the music score is nothing spectacular- but just right.

3.5/5

There aren't many films that feature the mentally ill in institutions. One of the most famous is One Flew Over the Cuckoo's Nest. But that was mild compared to seeing how they existed in the 16th Century.

It wasn't too much better in the United States, and this created the push to Community Mental health instead of institutions. It was too easy in these facilities to abuse and neglect patients, and it was also too easy, as illustrated in the film, for families to quietly get rid of unwanted wives or barriers to wealth.

Boris Karloff is excellent in his role as the warden and the film does manage to keep from being too morose with attempts at humor, and what is probably a prettier picture of the institution that really existed.

Anna Lee, probably better known as Lila Quartermaine on "Port Charles" and "General Hospital," did a very good job as someone who was taken aback by the conditions at Bedlam and fought for reform to the point that she, herself, was committed. She then worked from within to defeat Karloff, and manged to endear herself to the residents to the point that the film had a really great ending.

True, the film is from horror-meister Val Lewton and stars that icon of fright, Boris Karloff; yet, beneath the credits lurks an insistent glimpse into 18th century social conscience. Apparently the film failed on release. That's not surprising since the script hews closely to what Hollywood would consider elevated speech of that day, which sounds a lot like drawing-room Shakespeare. I expect audiences turned away in droves-- Lewton was always an unsteady mix of the frightful and the literary.

Nonetheless, the story line does much to balance out the conventional conclusion. At first, the gross Billy House comes across like a sadistic nobleman who considers grim death little more than amusing party entertainment. But then we find he's simply typical of his titled class for whom commoners exist mainly to be used. If we condemn him, then we must condemn the class from which he springs. At first, Anna Lee appears to be House's arrogant plaything, elevated from the common herd by House's eye for a quick wit and a pretty face, (implausibly, the script implies her companionship doesn't extend to the bedroom).

But Lee can't suppress her natural sympathies despite the privileged standing. She turns against her benefactor and House's cruel right arm, the chief apothecary of the Bedlam madhouse, the redoubtable Karloff. Her ally and conscience, in a poorly performed part, is Richard Fraser as a free man and pacifist Quaker. Together they challenge the inhumane conditions locked into place by the conniving Karloff and the uncaring House.

Now, much of this can be read as political allegory with House standing in for decadent nobility, Karloff as his Machiavellian enforcer, Lee as the collaborator turned fiery reformer, and Fraser as the principled free man foreshadowing the rise of the productive class and the American revolution. The "loonies" compose the most damaged and victimized of the commoners, while their "trial proceeding" shows a repressed potential among even the most benighted. In short, there's a strong carry-over of Progressive reformism in this 1946 production.

One scene in particular suggests the film's underlying ambition. Karloff is being tried before the inmates he has so callously abused. Ordinarily a horror script would simply assume Karloff' wicked nature. Here, however, he confesses to the fear he feels at losing his standing in the class hierarchy should he not flatter those on the rungs above and demean those on the rungs below. As a scholar, his position is necessarily an ambiguous and perilous one. So he takes the easy way out, in effect selling his soul to the undeserving House in return for a measure of power and prestige. Thus he is exposed not as a monster, but as a weak man simply overcome by an understandable fear-- which is not your usual horror-level motivation behind wicked behavior.

Allegories aside, the performances are excellent, with the exception of Fraser. Lee's and Karloff's verbal sparring in House's bed chamber amounts to a minor masterpiece of upper-crust sarcasm. In fact, the attractive but unglamorous Lee remains persuasive throughout. House too adds considerable color, as does the venerable Ian Wolfe as the loony lawyer, along with the small uncredited boy who manages some characterization as House's well-upholstered attendant.

This may not be cult-favorite Lewton's best or scariest film. But it does show real heart, along with the usual number of intelligent Lewton touches.

If you're watching a classic horror movie and you see the words 'produced by Val Lewton' sprawled across your screen, you know that you're in for a great movie! While Bedlam doesn't represent Lewton's best work, or even his best collaboration with the great Boris Karloff, it's still a great atmospheric horror film. The story takes place in an eighteenth century 'Looney bin' called "Bedlam", and stars Karloff as the apothecary general. Lunatic asylums make for great settings for horror movies, especially when they're set in the time period that this one is set in. Nowadays, hospitals are more geared towards helping the patients; but back then, they weren't; making the setting more horrifying and therefore riper for a horror movie. The plot sees a young woman who becomes concerned at the way the patients are being treated at Bedlam. After trying to get the asylum to reform their practices, the powers that be decide to have her committed in order to save themselves money and stop her revealing how badly the patients are treated.

As usual with Lewton, the film breathes a thick and foreboding atmosphere and this is the main star of the show. The atmosphere is complimented by a nice story which, although there's maybe slightly too much talking, plays out well and features a great ending that is seething with irony. Mark Robson isn't as great as the other directors that Lewton has worked with; Jacques Tourneur and Robert Wise, but he knows his stuff and the three films that he made with Lewton, while falling somewhat short to the others', are still nice horror movies. The Body Snatcher will remain the finest collaboration between Karloff and Lewton - but that film was exceptional and the fact that this one doesn't live up to it isn't a commentary on it's quality. Karloff himself puts in another awesome performance and his screen presence combines with his mannerisms to create an eerie performance from the great horror legend. This film comes with high recommendations from yours truly. I'm a big fan of Lewton, and after seeing a number of his films; I don't see how anyone couldn't be.

This film is yet another outstanding example of Karloff during his time at RKO. I find this film to be eerie and genuinely disturbing, when one sees inside the mental institution. Although Karloff gives a fine performance, my own particular favourite here has to be Anna Lee as Nell, who appeared later as the nosy neighbour in "Whatever Happened to Baby Jane?" It is such a tragedy that so many similar films of the period have been lost due to decay of the archives. Luckily, this one has survived, and my advice is to see it if you get the chance.