A Louca Missão do Dr. Schaefer

I forgot what a masterpiece of paranoia this movie is; only in this

case, it isn't paranoia, everyone really IS out to get you! This is

James Coburn's best performance in my opinion, as a psychiatrist

who has been conscripted to become the President's analyst, and

when he decides to quit, discovers just how disposal American

citizens are. This is my pick for THE paranoia movie of the 1960s.

That this movie came out in 1967 is incredible; it deals with

assassination carried out casually by the FBI, the CIA, the violence

that has been absorbed as wholesome by America, the escape

from violence into sex and drugs, and much, much more, all

during the time of the Vietnam War and zero tolerance for differing

views. The speech by the black FBI agent in the beginning on

how he discovered racism is especially painful, and remarkable

given the time period.

The movie is hysterically funny, cynical, black, and most ironically,

hopeful, and a must-see for any film lover. The script is terrific, but

the direction stands out in the inspired camerawork. This

obviously was a labor of love by the director/writer, and

interestingly, one of only two or three non-t.v. films he ever directed.

If you see it, you may be bored by today's sex and gore standards.

But if you remember the 60s, keep them in mind when you see

this film. You'll wonder how it ever got made.

Ten out of ten stars, because there isn't anything I can find wrong

with this film; it's brilliant in every aspect.

Too many films want it both ways, but this is that rare example of a film that actually gets it. It genuinely is of its age - all swinging Sixties and cultural revolution - but it also sends all that up.

Read the plot elsewhere but suffice to say that those numb-nuts who believe it to be shambolic clearly don't know a carefully structured film when they see one. It's a comedy thriller that zips along whilst never missing an opportunity to provide some of the best satire you'll ever see on Flower Power, Psychiatry, American Liberalism and the Cold War.

Furthermore, for me, it's James Coburn's best performance because we get to see his comedic skills whilst at the same time get a generous slice of just what makes him the coolest cat ever to grace the silver screen.

I'm gobsmacked that this - one of my Top 25 films - is not considered a classic. For me it's up there with Dr Strangelove because it's got everything: great direction, a great great story, great dialogue, great sound-track, and did I mention the acting...?

James Coburn is "The President's Analyst" in this 1967 dark-humored film also starring Godfrey Cambridge, Severn Darden, Eduard Franz, Will Geer and Barry McGuire. Coburn is Sidney Schaefer, a New York psychiatrist chosen to be the analyst for the President of the United States. It's a great honor and all that, but the assignment turns out to be nothing but trouble. He becomes paranoid and when he starts to believe his girlfriend is a spy, he escapes his many watchers by joining a White House tour and attaching himself to a couple, Bing and Jeff Quantrill (Wiliam Daniels and Joan Darling). Claiming that he works for the President who wants to get a handle on what Americans are thinking, they agree to take him back to the New York suburbs with them. But Sidney can't escape - everyone seems to know where he is, even later on, when he runs away with a group of hippie musicians and dons a wig. One faction of the U.S. government wants him found and returned to Washington; another one, the FBR, wants him dead. All the other countries want him to find out what he knows, or they want him dead so no one else learns anything.

There are lots of great things in this film, but the best is the segment with William Daniels and Joan Darling, who play two liberals who have more guns in their house than a gun store. "The people next door are Fascists," Bing says. "They ought to be gassed." With Sidney in Chinatown, government agents approach them to kidnap Sidney. Jeff attacks with karate while Bing shoots to kill - and Sidney takes off.

Baby boomers will especially enjoy all the '60 elements. "The President's Analyst" walks a line between satire and the real feelings of the '60s (many of which are still held) about the government. And it succeeds beautifully. James Coburn was an underrated actor who always delivered unique characterizations, and he was never without some underlying humor. You can see the analyst deteriorate - he starts off with an ego as big as New York after getting his assignment, and bit by bit he descends into nervous breakdown-land. The other performances are excellent, from Godfrey Cambridge, Eduard Franz, Will Geer and the rest. But Daniels and Darling - priceless.

Excellent film, highly recommended.

When James Coburn passed away in 2002, it was sad to see how little fanfare was generated by this event. Coburn's resume is as strong as any actor of the Sixties and Seventies. For almost a decade, Coburn played in some of the strangest and most unorthodox films of the era. Everyone knows that he capably spoofed the popular spy genre with his "Flint" films. But it wasn't until he became the President's analyst that he really hit his stride. The fabulous panoramic views of a pre-World Trade Center New York duel with the more grimy shots of the Manhattan Garment District. Look for a humorous assassination involving a knife and a clothing pushcart. Nostalgic observation: the New York Skyline appears the way it does on the New York Mets' uniform patch. The plot concerns the President's need for a head shrinker. Wanted: a man who can be trusted with the leader of the free world's secrets. Grandpa Walton (Will Gear) shows up as the President's prior therapist. He is wonderful as always. Edgy pop singer, Barry McGuire, plays a stoner with a catchy song on his acoustic guitar. One memorable sequence combines McGuire's tune (something about "changes") and a team of assassins in a field, attempting to kill our hero, Coburn. The killers use everything from guns to gas to blow darts. Even a net. In widescreen, the final shot of the movie resonates with a sly, satirical nod to the genre. The villain of the piece comes as a big surprise to anyone under the age of forty: think telephone exchanges and room-size computers. And mix. Bravo!

This satire is as relevant today as it was in the 60's. James Coburn's performance was more than just entertaining. It's easy to see why he was so sought after in those days. This film remains among my top picks along with the likes of "M.A.S.H. " and "Catch 22."