The Full Treatment

Psychological thriller from producer-director Val Guest could perhaps use more thrills and less psychology. Racecar driver fights against getting psychiatric help after a road accident--which killed the other driver--has left him badly shaken; his spouse begs him to reconsider, particularly after she becomes the target of her husband's subconscious rage. Adaptation of Ronald Scott Thorn's novel "The Full Treatment" (the movie's alternate title), by Thorn and Guest, has some tart dialogue and solid performances, and looks great as photographed by Gilbert Taylor, but the midsection of the film is redundant. Guest turns the plot-screws with careful deliberation, but is too slow in getting this web untangled. **1/2 from ****

Before addressing the acting, which I regard as uniformly superb throughout, I should add my agreement with several other reviewers that there are several scenes in this film that are simply repetitive, so that it might have been more effective with about 15 or 20 minutes cut out of it. However, it is still highly effective as is, due to the acting of four of the five principals, those being Diane Cilento, Ronald Lewis, Claude Dauphin and Bernard Braden. The fifth, the damned-near immortal Francoise Rosay is fine, but really contributes little to the film from an acting standpoint; she simply has little to do and nothing to act. It's the kind of role that in an American film would have been given to Argentina Brunetti or Celia Lovsky!

I'd never heard of this movie before - surprisingly, since I am a devotee of British film and acting from all periods and because this is, at least in the three leading roles, an impressive cast listing. I thought Cilento's accent was just fine throughout (if I didn't know her from anything else, I would never have thought of her as coming from Down Under); to me, it sounded Italian, but she uses a lot of French phrases and speaks French to others (the film takes place in France and England), so maybe that has confused other reviewers. The character's first name, "Denise", certainly sounds French rather than Italian, but that doesn't mean too much in a world where we have a noted Irish operatic baritone named Bruno Caproni! As with everything I've ever seen her in, Cilento is wonderful throughout, and very sexy in both voice and aspect. She beautifully captures both the character's love for, and fright of, her seemingly demented husband. Claude Dauphin was a pretty famous actor on both sides of the Atlantic at this time, and this is by far the best outing I have seen from him in an English-language film. I used to find him fairly hard to understand in our language, but not so in this one - and he has some really difficult dialogue (lots of it, and much of it replete with scientific jargon) to get through. He captures the psychiatrist's intelligence, egotism and kindness throughout, yet we are aware that there may be more to him than he shows on the surface. As for Ronald Lewis, I could never understand why he never became anything like an international star. He was a very good actor, with a resonant voice and wide emotional range, both very handsome and very macho (like good old George O'Brien, somebody always got him to remove his shirt in the course of a movie), and quite volatile as both villains and heroes - kind of like a visual and emotive cross between Stephen Boyd and Kirk Douglas. (This may have carried over to his personal life, as he did commit suicide when only 53.) Anyway, this is a very difficult role to play convincingly and he does it about as well as can be imagined (in fact, in this film he really did remind me of Stephen Boyd). A bit of a surprise is Bernard Braden, a Canadian actor with whom I was almost totally unfamiliar, but who plays an old friend of Lewis's who is about the only completely normal character in the film (Cilento is lovable, but hardly normal, unless one considers going to bed with someone you know may strangle you in the middle of the night to be normal), but he plays him extremely well and with a kind of of Everyman quality and lack of flair. Rosay, as I already said, is wasted here, but her English is actually less accented than is Dauphin's, perhaps reminding us that this most quintessentially French of French actresses did appear in a good number of English-language films during her long career.

With a few outdoor scenes deleted, this film could almost serve as a play for three major acting talents, so it is a bit 'talky', but the talk is pretty solid. Anyway, there is lots of emotional excess here and the actors are really up to it, and despite its overlong process in reaching a somewhat surprising, if well thought out, denouement, it maintains and builds interest and suspense throughout. It probably deserves a 6 rating, but being performance oriented, I give it an 8. If you enjoy watching good actors act, this is a film for you. Suspend your disbelief and just enjoy it.

'Stop Me Before I Kill' is AKA 'The Full Treatment'. Both titles seem to fit this film quite well.

A race car driver is in an accident and spends time in a coma, once he is awake he has the strange urge to kill his wife. His wife seeks help from a psychiatrist to help her husband overcome his urge and to find out why this is suddenly happening.

The ending of this film seem appropriate - very befitting. I will not give it away for those who have not seen the film and would like to.

This is not a bad mystery-drama - it's pretty good. No movie is "perfect" - they all have a few flaws and this one is no exception. The flaws in this film are minor.

All movies are hard to fathom - you have to suspend your beliefs to watch any movie. With this film you will have to do the same thing as with any film.

All in all a pretty good film. I enjoyed watching it.

7/10

Obscure Hammer Psychological Thriller Written and Directed by Val Guest.

Suffering a Head Injury resulting from a Car Crash, a Race Car Driver (Ronald Lewis) Cannot Perform on His Honeymoon and on top or that is Haunted by a Lust to Kill His New Bride (Diane Cilento).

He has Black Outs and is Forever Fighting the Urge, and eventually seeks a Psychiatrist (Claude Dauphin), a Friend of His New Bride.

1960 saw a Trend in "Psycho" Pictures and Hammer joined in Immediately. This being a Val Guest Film there are a Number of Interesting Camera Flourishes and is a Fun Film to Watch.

But the Fun is Interrupted Frequently by Repetitive Scenes and some Mysterious Things that Astute Viewers won't find that Mysterious.

Good Acting from the International Cast but They bring Heavy Accents to the Dialog, and there is a Lot of Dialog, and it can become Wearisome. The Extended Length (107-120 min depending) Doesn't Help as the Story tends to Lumber and Stretch the Plot beyond its B-Movie Capacity to Sustain.

Overall, Worth a Watch, but Ultimately Talky, Heavy Handed and the Constant Changing Tone that is a Result of the Protagonist's Confusion and the Fighting and Making Up, Fighting and Making Up, becomes Tedious. It's Burdensome at times and tends to make the Movie more Irritating than Intriguing.

Race car driver Ronald Lewis was in a road accident with his French wife, Diane Cilentro; the driver of the truck involved was killed, and Lewis was injured. A year later, he is recovered enough to go to the Riviera with his wife. But he has changed emotionally. He's subject to sudden bursts of jealous anger and fantasies about strangling his wife. So when she is pleasant with psychiatrist Claude Dauphin, the fits come on. When they return to London, the cycle continues until Miss Cilento persuades Lewis to see Dauphin professionally.

Miss Cilento is always worth watching, and it's not solely because of her great beauty. It's Lewis who shines. He's quite believable as a man who can and and does turn violent over seeming trifles. I must admit that 110 minutes seemed to go on too long, and I thought the movie might have been cut a little closer; I was considering fast-forwarding three a bit of it at the 70-minute mark. I didn't, and figured out what was going to happen instead.

Director-coscripter Val Guest was better known for works like CONFESSIONS OF A WINDOW CLEANER and MR. DRAKE'S DUCK than psychological thrillers, so it wasn't surprising to me when this veered off into melodrama. Still, it's a nicely complicated little plot, and the lead trio are fine actors, making this a very pleasant movie.