Sublime Locura

An abusive creative type in Manhattan (Sean Connery) has writer's block and is compelled by his waitress wife (Joanne Woodward) to visit a psychiatrist (Patrick O'Neal), but the bore's dallyings with the quack's wife (Jean Seberg) worsen the situation. Meanwhile Clive Revill is on hand as a mad lobotomist.

Believe it or not, "A Fine Madness" (1966) has nothing to do with secret agent shenanigans, but is rather a zany Manhattan farce with a theme that would be done more effectively in "One Flew Over the Cuckoo's Nest" (1975). Nevertheless, it's amusing seeing Connery play a cranky, boozing, womanizing poet who cleans carpets for a living.

Woodward is also entertaining as his not-gonna-take-it wife. Speaking of which, the flick scores pretty well on the feminine front with the likes of Seberg and Sue Ane Langdon (Miss Walnicki). Colleen Dewhurst even shows up.

The film's also worth checking out just to travel back in time to Manhattan of the mid-60s.

The movie runs 1 hour, 44 minutes and was shot on the East Side of Manhattan, plus Long Island.

GRADE: B-

The idea that free-spirited creativity is a social disorder that must be cured by a well-meaning but thoroughly incompetent psychiatric establishment is the theme here, and one quite familiar to anybody who has seen One Flew Over the Cuckoo's Nest.

Sean Connery was a great choice to play a blocked, womanizing writer at the core of the drama and he centers the film with his amiable exuberance. Comparisons to Cuckoo's Nest are inevitable, and this film lacks the other's stifling power and resonance, but it shares a common vision of the psychiatric profession acting as a microcosm of authoritarian abuses in society at large. Still, this is a funny and charming, much lighter satire on the same subject, energetically directed by Irvin Kirschner, and enjoyable for Connery fans in any case.

A Fine Madness marks Sean Connery's venture into screen comedy and while the man has had many funny moments in his film, comedy was not his strong suit. Ironically he's cast opposite Joanne Woodward who as we know was married to someone who many critics also said was not at his best in comedy.

Whatever else is wrong with A Fine Madness I have always loved Connery's character name, Samson Shillitoe. One of the best screen names ever invented and so right for a would be poet.

Samson for Connery is a peculiar combination of James Bond and Ralph Kramden with Joanne Woodward as his long suffering Alice. This lout is also a chick magnet in the James Bond tradition, though God knows why. He's suffering writer's block and can't seem to finish this epic poem he's trying to write. He also has a process server in John Fiedler chasing him down for back alimony to a former wife.

Woodward puts him in the hands of psychiatrist Patrick O'Neal who claims he can cure creative people of their hangups so they can do their thing. Connery proves an interesting case however to O'Neal's colleagues, Colleen Dewhurst, Jon Lormer, Werner Peters, and especially Clive Revill who's developed a modified lobotomy that can really cure anti-social behavior. You'll find few screen characters as anti-social as Samson Shillitoe. He's also of interest to O'Neal's wife Jean Seberg who just plain ain't getting any lately.

There are some funny moments in A Fine Madness, but ultimately I found it unsatisfying. When all's said and done, though Ralph Kramden threatened many times to bang/zoom Alice to the moon, he never really did. Connery has battered Woodward and quite frankly she's a battered spouse. Why she puts up with him is beyond me completely.

And I'm surprised that this script didn't offend Joanne Woodward's feminist soul. She did the thing though to an unsatisfactory conclusion.

As a poet with writer's block who is institutionalized, Sean Connery distances himself quite grandly from screen alter-ego James Bond. Connery is unexpectedly gregarious as the avant-garde writer, Joanne Woodward is suitably shrill as his wife, and the supporting cast (including Jean Seberg and the wonderful Zohra Lampert) is uniformly terrific; however, this quirky piece on challenging the System is rather frantic and bumpy. Director Irvin Kershner has always been a little erratic, and his shifts in tone take a while getting used to. Elliot Baker's screenplay, adapted from his novel, is uneven, yet the film certainly looks good with handsome cinematography and fine use of New York locations. Often gets confused with "They Might Be Giants", another comedy which also co-starred Joanne Woodward and dealt with a certain madness. ** from ****

This nicely done adaptation of Eliot Baker's comedic novel (screenplay by the author himself) displays Sean Connery at his versatile finest. In the midst of his "Bond" persona (two years after "Goldfinger") Connery gives a brilliant, anti-typical performance as Samson, a poet to whom art is everything, and the polite fictions and civilities of society nothing. As a man, he is rude, crude, sexist and insensitive to the feelings of everyone, including himself. He is a monster in the mode of Gully Jimson [ "A Horse's Mouth" (1958)] or the real-life Dylan Thomas. A genius whose talent is little recognized, the poet reacts violently to the humdrum restraints of a culture that considers genius anti-social. That underlying tension, and his penchant for enjoying every attractive woman who happens to be in the vicinity, get him classified as a psychotic and put on the fast-track schedule for a pre-frontal lobotomy. Connery's talent and charm save this very funny movie from the somewhat offensive obnoxiousness of its hero, and clinch its optimistic argument about the ultimate triumph of artistic greatness. Also, don't miss the lovely performance by Coleen Dewhurst as a psychiatrist-seductress.