Nessuno resta solo

Nicely cast melodrama from the 1950s with the notable exception of Robert Mitchum in the lead. Despite the miscasting, Mitchum does deliver a strong performance, but I think Kirk Douglas would have done far more with the role of Lucas Marsh.

Olivia DeHavilland has a very convincing Swedish accent in her role as the 30s something nurse who marries Mitchum for love when he's courting her for her money so he can finish medical school. And that's really where the story begins. Mitchum's Lucas Marsh wants that medical career so bad, he'll do anything for it. He's arrogant, self-centered, and when he falls away from the ideal that he sees himself as, it's a come down. Whether having to apologize to Whit Bissell when he challenges him in class, or giving way to passion when he's unfaithful to DeHavilland with Gloria Grahame, he destroys himself bit by bit. When Mitchum makes a mistake in an operation that costs the life of his benefactor Charles Bickford, he's close to suicidal. In the end we're really not sure he's going to live with himself.

The rest of the cast is outstanding. Frank Sinatra in a role similar to Angelo Maggio in From Here to Eternity functions well as Mitchum's conscience. I also have to single out Lon Chaney, Jr. who in his one scene in the movie as Mitchum's father, delivers one of his best performances.

In the recent biography of Robert Mitchum, Baby I Don't Care, the author says that Stanley Kramer unknowingly assembled one of the biggest group of booze hounds in Hollywood. Robert Mitchum, Frank Sinatra, Broderick Crawford, Myron McCormick, and Lon Chaney, Jr. were all legendary in the drinking profession. But God Bless Stanley Kramer who managed to get them all working on a good piece of film making.

Many have panned Robert Mitchum's performance in this film, but I think that his lack of expression and emotion, other than anger, suits the character very well.

Mitchum's Marsh is a completely self-absorbed individual. He's committed to medicine and can't understand human failings, especially his own. His character's cold demeanor perfectly reflects the fact that Marsh has no outer life. If he often appears robotic, it's largely because he's programmed himself to shut out everything human, ironically in service to humanity.

Of course he's a great doctor, but he's pure hell to work or live with. Bursting with pride, insensitive to the point of cruelty, Marsh is unreachable and, in more than one sense of the term, untouchable. Mitchum conveys all of this very naturally, perhaps because so much of his performance is rooted in the dark world of film noir, where the actor first made his mark. He's a physician from the neck up, but he has the heart of a contract killer. That he heals instead of kills is his patients' good fortune, though of little solace to his friends or his wife.

Although Mitchum's interpretation remains controversial, many of the other performances in `Not as a Stranger' are beyond criticism. Olivia deHavilland, as his suffering spouse, is superb as always. Charles Bickford, an actor who deserves a much greater reputation, is the epitome of a small town doctor. And surprisingly, Broderick Crawford is excellent as a gruff professor of pathology.

On the other hand, Frank Sinatra's pediatrician isn't as strong, though he has some good scenes when he tries to help Mitchum see the error of his ways. Gloria Grahame, unfortunately, is stuck with a seductress role that just as well could have been cut.

There are other weaknesses. George Antheil's score, by way of Wagner and Richard Strauss, is pretty hard to take. The script and direction are uneven. Many scenes are compelling, such as when Crawford literally throws the book at Sinatra or when deHavilland and Mitchum have one of their confrontations. Others fall flat and there is a tendency, typical in most of Stanley Kramer's work, to keep making points at the expense of the story. For example, the med school sequences with Whit Bissell's greedy and unethical Dr Dietrich (interesting choice of name there) cover a darker side of the profession very well. There's really no need for Jesse White, terribly miscast as a lawyer who cozies up to Grahame, to bring up ethical issues much later in the film.

Recommended as an above average melodrama and as an interesting time capsule of mid-50s medicine. (Though I found it hard to believe patients were allowed to smoke in the wards!)

Stanley Kramer made his directorial debut here, following the journey of a medical intern who marries for money, later becoming a country doctor with an unhappy love life. Surprisingly involving adaptation of Morton Thompson's novel is both cynical and humorous, and Kramer really excels in the scenes behind hospital doors, particularly in the patient montages. He takes a good while to warm up however, and the actors also struggle getting into character. Robert Mitchum is generally miscast--he doesn't strike me as the medic type--as is Frank Sinatra, cutting up à la Jack Lemmon (Sinatra nevertheless gives the film some bounce). Olivia de Havilland does her usual good work in the romance department. Second-half of the picture is more assured, if more routine, but the film is quite entertaining on the whole. One Oscar nomination: Best Sound. **1/2 from ****

Very good black and white Doctor Film. Robert Mitchim does a fine job playing a dedicated doctor. He proves that he can play a sensitive character as well as a cowboy or detective. Broderick Crawford was well cast as a teaching Pathologist. Mr. Crawfords ability to play an overbearing and intense individual suits his character quite well. Operating room and Hospital Ward scenes were well done as this is now a 55 year old Movie. It remarkable how much the medical profession as advanced in innovations and equipment in a little more than half a century. Worth watching especially if you are a Mitchim fan. It is one of the better films of the fifties where they don't over due lighting up and smoking one Cigarete after another. Harry

I'm a general practitioner and I can tell that this kind of doctoring regretfully does not exist anymore. I do not mean the business with the mole which, of course by what we know now, was wrong. I mean that these guys were really general practitioners who did almost everything, leaving almost nothing to specialists.

But that's not really why this movie is good. The character that Mitchum plays is a complicated one but still his motive is to be somebody that matters in this world, to be a genuinely worthy doctor. He doesn't lack heart but he lacks tolerance.

The reason I like this film is however that it describes people who truly care. Tolerance has a danger to slip into permissiveness, especially concerning power and that has happened too much today. With all it's shortcomings, and there are indeed some, the times that are displayed here still were a lot more decent than what we have today and what makes this film especially precious is that you can see the embryo of more evil times to follow if you are attentive enough.

A film to learn from in many ways.