Grito do Coração

When I go two-thirds of the way through a mystery film and can't figure out where a film is going, I wonder if it's just me, or if there's not a logical progression of a plot line. In this case, since I had read a bit about the film in advance, my confusion was because that logical progression of a plot line was missing. What the heck does the title mean? Also not logical. And then, in the last 15 minutes, everything is pulled together...just a little too easily and slickly. Having said all that, there were two positives -- great scenery in Ireland, and the typical feisty performance of Susan Hayward. Peter Finch was very good, also. Fortunately, I can enjoy a bad film when Susan Hayward is in it. Otherwise, I'd be disappointed that I spent two hours on this film.

The premise of I Thank a Fool is very intriguing, so don't be surprised if you rent it on that alone. Add in the cast of Susan Hayward and Peter Finch and you're in for a dramatic treat. Suzy plays a doctor who mercy-kills her boyfriend and gets sent to jail. When she's released, she doesn't know what kind of new life she'll have, since she obviously can't practice medicine anymore. She gets summoned to a large, beautiful estate to interview for a caretaking position. Diane Cilento seems normal enough, but her husband, Peter Finch, says she's not all there. . . Suzy's very reluctant to take the job - because Peter was the prosecutor who sent her to jail in the first place!

This movie really is as exciting as it sounds. I was hoping for a little more romantic tension between the two leads, but it's not that kind of movie. With the exception of the last five minutes, I was riveted and kept wanting to watch more. I'm always forgiving when a movie doesn't end the way I want it to, because you never know what got altered during screenplay revisions, studio insistences, and preview screenings. So, with that in mind, I'll recommend I Thank a Fool for anyone who likes the cast and is in the mood for a drama with a slightly mysterious and thrilling edge to it.

"I Thank a Fool" begins with a sick man in the hospital. You never know what he's suffering from, but it's exceptionally painful. Into the room comes his doctor (Susan Hayward) and she insists that she, not the nurse attending to him, give him a shot. Soon afterwords he dies and it is assumed she gave him an intentional lethal injection to ease his suffering. Next, she is in court--defending herself against a murder charge. She is convicted of a lesser charge, Manslaughter, and is sent to prison. When she gets out, she cannot find work and she is approached by the man who prosecuted her (Peter Finch)--he wants to hire her to help take care of his wife! It seems that the woman has some mental illness and of all people to choose, he picks this ex-doctor! While this setup for the story is difficult to believe, I did enjoy the euthanasia angle--it was pretty interesting and brings up a complex issue that is too seldom discussed. So where does all this go?

The idea is pretty intriguing and unusual--is what happens next worth your time? The answer is a definite yes--though the film does have a few plot holes here and there. You can't help but wonder why Hayward's character does some of the things she does--they aren't always very logical. Plus, there's the weird coming home scene in Ireland. I think I know what they were implying...but am not sure because it's so obtusely written. And, the very final scene is pretty bad. Still, despite these problems, the movie does keep you guessing and it is unusual. Not a great film but a very good one.

Stripped of her medical credentials after being convicted of manslaughter for the mercy killing of her ailing married lover, Canadian doctor in London serves 18 months behind bars, only to be hired by the prosecutor once she's released. His child-like wife requires a companion after suffering brain damage from a car accident, but the doctor (very slowly) discovers the wife's real problem is mental illness, specifically paranoid schizophrenia. Middling adaptation of Audrey Erskine-Lindop's 1958 novel, ostensibly a good vehicle for star Susan Hayward, though she's rather colorless as the physician who uncovers a house full of secrets. Moderately engrossing melodrama, handsomely produced on-location in London and Ireland, but saddled with a far-fetched explanation at the finish line. ** from ****

Audrey Erskine-Lindop wrote in a variety of genres and has proved popular with film makers. Although having seen all of them I must confess to having read none of the originals but judging by a synopsis of her 1958 novel 'I thank a Fool', this film adaptation is quite another story!

Unusually for the time it introduces the emotive and controversial issue of 'mercy killing' and the film is topped and tailed by a trial and an inquest. One would hazard a guess that these were inserted by uncredited contributor John Mortimer. The leading female character has been considerably changed to accommodate the age and persona of the customary American import but as she is played by the splendid Susan Hayward, who's complaining? The always-good-value Peter Finch plays the barrister whose prosecution puts her behind bars for manslaughter and who later proceeds to hire her to look after his schizophrenic wife! Yes, it's that sort of movie. The wife is played by Diane Cilento and although her Irish accent is rather in-and-out, she engages our sympathy and acquits herself well in a very demanding role. Playing her drunken, despicable father is Cyril Cusack who succeeds once again in stealing all of his scenes. Both Athene Seyler and Richard Wattis impress and there are brief but brilliant cameos by Miriam Karlin as a tart and Peter Sallis as a lecherous doctor. Even cigar store Indian Kieron Moore shows signs of life.

Superlative camerawork by Harry Waxman and what is for him an unusual score by Ron Goodwin which includes the tried and trusted Theramin for 'atmospheric' purposes.

There are a few plotholes along the way whilst the ending is somewhat contrived but very much in keeping with the melodramatic mood of the piece. Rather like the curate's egg, it is not all bad but is particularly good in parts.

Whatever its weaknesses it is infinitely preferable to director Robert Stevens' next collaboration with Peter Finch, 'In the cool of the Day' but that quite frankly would not be difficult.