Die Schlangengrube

Olivia DeHavilland gives another standout performance in "The Snake Pit," also starring Leo Genn, Mark Stevens, and Celeste Holm. In line with the interest in psychiatry after World War II, Darryl F. Zanuck, always at the forefront of social issues, produced this film, directed by Anatole Litvak.

DeHavilland plays a troubled, often disoriented woman with unexplained mood swings who winds up in a state mental hospital with no memory of her new husband (Mark Stevens). She becomes a patient of Dr. Kik (Genn) who patiently works with her to try and get to the core of her problem, and to do so, employs several rounds of electroshock therapy. Together they uncover suppressed memories.

One thing that's noticeable about the films of the golden age is their mastery of the art of the build-up, while today, screenwriters get to the point in the first 10 minutes of the film. "The Snake Pit" is very modern in this way, starting on a high note and working backwards into what brought this woman into the hospital. Given the story, it's very effective. It also keeps you guessing because the conditions at the mental institution, as well as the behavior of some of the staff and the patients makes one suspect something sinister is going on - kind of a "Shock Treatment" scenario. It takes a while to realize that Dr. Kik is on the level, a concerned and committed doctor.

The film is beautifully done, and who can forget the overhead "snake pit" shot toward the end of the film. The song "Going Home" sung by one of the patients at a dance is one of the best moments, as are the harrowing scenes of the electroshock therapy and the bath with the covering over it that DeHavilland is put into - the feeling of being trapped and having no control is pervasive throughout the film. With the advancement in medications today, one aches for the characters, trapped in illnesses often not understood or treatable.

Olivia DeHavilland is sympathetic and heart-wrenching as Virginia, a woman panicked by behavior she can't recall or can't control. When backed up against the wall, her voice changes and becomes harsh; she almost seems like a split personality. One believes every second of her torment. Leo Genn strikes the exact right note as Dr. Kik, a perfect combination of gentleness, concern, and professionalism. His scene at the dance and his final scene with DeHavilland are very touching and especially the last moments bring me to tears. Mark Stevens gives a sensitive performance as Virginia's handsome and loving husband who is loyal to her throughout her ordeal.

There has been much progress in mental disease and removal of much of the stigma. "The Snake Pit" reminds one of a more primitive time. Wonderful performances, direction, and a good story make this a true classic.

The Snake Pit is directed by Anatole Litvak and adapted to screenplay by Frank Partos, Millen Brand and Arthur Laurents from the novel written by Mary Jane Ward. It stars Olivia de Havilland, Mark Stevens, Leo Genn, Celeste Holm, Glenn Langan, Helen Craig, Leif Erickson and Beulah Bondi. Music is by Alfred Newman and cinematography by Leo Tover.

Olivia de Havilland plays Virginia Stuart Cunningham, and film chronicles Virgina's time and treatment in the Juniper Hill Mental Institution.

"It was strange, here I was among all those people, and at the same time I felt as if I were looking at them from some place far away, the whole place seemed to me like a deep hole and the people down in it like strange animals, like... like snakes, and I've been thrown into it... yes... as though... as though I were in a snake pit..."

It's still today one of the most potent and important screen explorations of mental illness and its treatment. Backed by an astonishing performance by de Havilland, Litvak and an initially sceptical Darryl F. Zanuck (20th Century Fox supremo), led the way in bringing to the masses the subject and to treat it with stark realism. Quite often it's harrowing as entertainment, with Virgina's fractured mind laid bare under duress of treatments now seen as antiquated.

It's true enough to say that some of the story features simplistic motives and means, these come as a product of the time the picture was made. But with Litvak (Sorry, Wrong Number) and his principal crew members researching the subject thoroughly, the end result is an incredible blend of dramatic heartfelt suspense and rays of humanistic hope. As Virginia weaves her way through this maze of psychological discord, with flashbacks constantly adding layers to the character's make up, Litvak presents a fascinating portrait of asylum life and the people who resided there, both as patients and staff.

Some scenes are brilliantly crafted, either as visual expansions of the story or as shards of light in a dark world. One sequence sees Litvak track "dancing" silhouettes on a wall, and to then do a pull away shot upwards to reveal Virginia in the snake pit, the impact is stark in its magnificence. Another sequence takes place at a dance for the patients, where a rendition of Antonín Dvorák's "Goin' Home" turns into something quite beautiful, a unison of profound optimism that strikes the heart like the calm after a storm.

Leo Tover's (The Day The Earth Stood Still) crisp black and white photography is perfectly in sync with the material, and Newman's (Wuthering Heights) magnificent score bounces around the institution like a spectral observer. With de Havilland doing her tour de force, it could be easy to forget the great work of Genn and Stevens, the former is a bastion of assured calmness as Dr. Mark Kik, the latter as Virgina's husband Robert underplays it to perfection and he gives us a character to root for wholesale.

It has to be viewed in the context of the era it was made, but its influence on future movies and awareness of mental health treatments in the real world should not be understated. A brilliant production that demands to be seen. 9/10

The beginning of this movie has Virginia Cunningham sitting on bench but her not knowing where she is. She soon finds out that she is in a mental hospital. She doesn't know why she's there. She doesn't even know her husband when he appears. The only allegiance she can form is with Dr.Kik,who she trusts. This is a time when mental patients were treated horribly. May 6th seems to be the underlying problem with her mental condition. Everyone she lost seems to revolve around this date, and on the out side, she gets completely paranoid when she knows this date is coming. Through Dr. Kik's compassion and shock treatments & psychotherapy, she gets to understand why she became ill. But,that's the beginning and end of the picture. What happens in the middle(all contained in the hospital) is a memorable performance given by Olvia DeHavilland, the treatment she gets, the other patients, the nurses,the darkness of the hospital all add up to, I think one of the best movies made.

In a beautiful and serene park setting, disheveled Olivia de Havilland (as Virginia Stuart) sits on a bench talking to herself. As it turns out, she is a 24-year-old mental patient. Believing she is in a prison, Ms. De Havilland does not recognize loving husband Mark Stevens (as Robert Cunningham). In a flashback, he begins to tell de Havilland's story. Later, she is able to elaborate events for kindly doctor Leo Genn (as Mark Kik). Unhappy events from de Havilland's childhood could provide a clue to the origin of her mental problems and put her on the road to recovery...

This film was considered shocking for revealing the despicable conditions mental patients suffered in institutions. There is a prison-like environment and the soundtrack music horrifically pounds while de Havilland receives electro-shock treatment. Other than that, the conditions are relatively good. De Havilland receives excellent care from "Doctor Kik" and the facility is spacious and well-maintained. The staff is commendable but for exacting nurse Helen Craig (as Miss Davis), who delivers exceptionally in one of the film's many small supporting roles. There are dozens of others...

If extras could still participate in "Academy Award" voting, Anatole Litvak's "The Snake Pit" might have won more than one of its six nominations. Still, de Havilland's remarkable work won her several of filmdom's most respected 1948 "Best Actress" honors, including the "New York Film Critics" and "National Board of Review" awards. Generally remembered for lighter, more secondary roles in the 1930s, de Havilland would follow-up with a most stunning performance in "The Heiress" (1949). Her acting in the 1940s made de Havilland one of the decade's finest dramatic actresses.

******** The Snake Pit (11/4/48) Anatole Litvak ~ Olivia de Havilland, Mark Stevens, Leo Genn, Helen Craig

Hollywood in the forties was not exactly ready to deal with subjects such as the one depicted in "The Snake Pit". It must have taken a lot of courage to get this project started since it dealt with a serious problem of mental illness, something not mentioned in good company, let alone in a film that took the viewer into the despair the protagonist is experiencing.

Anatole Litvak, the director, got a tremendous performance from its star Olivia de Havilland. If there was anyone to portrait Virginia Stuart Cunningham, Ms. de Havilland was the right choice for it. The actress is the main reason for watching the movie, even after all these years.

The director was responsible for the realistic way in which this drama plays on screen. The scenes in the asylum are heart wrenching, especially the electro shock treatments Virginia undergoes. At the end, the kind Dr. Kik discovers a deeply rooted problem in Virginia's mind that was the cause for what she was experiencing.

Leo Genn is the other notable presence in the film playing Dr. Kik. He makes the best out of his role and plays well against the sickly woman he has taken an interest in helping. Mark Stevens is seen as Virginia's husband, the man that stood by his wife all the time. In smaller roles we see Lee Patrick, Natalie Schafer, Leif Erickson and Celeste Holm, and Betsy Blair.

"The Snake Pit" is a document about mental illness treated with frankness by Anatole Litvak and his team.