Brainstorm

I do some court monitoring volunteering and a few years back I sat in on a murder case where a 19 year killed a 60 something man with whom he was having a sexual relationship with. During the course of the trial this kid gave certain answers to the court appointed scientist that he thought would help his case. As the perpetrator was high school drop out with a GED he wasn't fooling any shrink.

But that's what Jeffrey Hunter tries to do in Brainstorm. Hunter is a top scientist working for billionaire industrialist Dana Andrews. Hunter one nights saves Anne Francis who is the wife of Andrews from a suicide attempt. Risks his own life to do it.

Andrews is a cruel and vicious man and Hunter falls for Francis. Like the way Barbara Stanwyck lures Fred MacMurray into her murder scheme, Francis gets entrapped in her scheme and goes one better in that Hunter thinks it's all his idea.

Like my GED case Hunter being a most educated man figures he can game the insanity defense system. He does to some extent, but the end results are not what he bargained for.

I was pleasantly surprised by this film, mainly because Dana Andrews was doing a lot of mediocre films at this point so I wasn't expecting much from Brainstorm. But I found it refreshingly original, written and directed by actor William Conrad who had a nice sense of style. Jeffrey Hunter was really great in the part of the luckless lead. Kudos also go to Viveca Lindfors as a consulting psychiatrist.

The scenes with Hunter in the insane asylum are really freaky and bizarre. I expected to see Olivia DeHavilland and Dr. Kick come in the ward. The scenes were right of The Snake Pit. Strother Martin is one of the patients and he's memorable too.

And the ending is one for the books. Definitely if you're a fan of any of the players I mentioned you should see this film.

This is probably the most complex role I ever saw Jeff (no - rey) Hunter ever undertake, and he's actually not at all bad. He is "Grayam", a man who comes to the aid of the slightly inebriated wife of his boss. "Lorrie" (Anne Francis) is considerably more grateful than her husband "Benson" (Dana Andrews) and it soon becomes clear that she has the hots for him and he, however reluctantly at first, is beginning to reciprocate. Pretty swiftly they are having an affair and rather curiously her husband seems to know all about it and care not a jot. He knows his wife will never leave her wealthy and confortable life - he plays a manipulative game and he plays it well. To thwart this, the two come up with a plan to eliminate "Benson" in plain sight and to cleverly orchestrate the scenario so as to allow his use of a plea of insanity. He sows the seeds well, gradually convincing all around him that he's not the full shilling before... What he didn't really reckon on though was the fickleness of "Lorrie" and the adeptness of the court-appointed psychiatrist "Larstadt" (Viveca Lindfors) who plays well here as the doctor who clearly knows how to play this game of intellectual cat and mouse every bit as well as her quarry. It's perhaps a little too long - too much time is spent on the establishment scenes, but Hunter, Francis and Lindfors are effective here as William Conrad gradually builds this into a sophisticated psychological drama that twists and turns nicely before a denouement that I found to be suitably pathetic. It's rarely seen these days, and may be a bit tame by 21st century standards, but it is a strong and characterful story that is well delivered and well worth a watch.

After being seduced by the unstable wife of his millionaire boss, a brilliant young engineer concocts a crackpot plan for the two to be together: murder her husband and then convince a panel of psychiatrists that he is clinically insane (the rationale being, I assume, that incarceration in a mental asylum is much preferable to prison!). Warner Bros. potboiler with a television budget--another in a string of pulpy, somewhat-sleazy yarns to be directed by William Conrad--is engrossing and enjoyable, even as it fails to come to much. Conrad works well with his actors while concentrating firmly on his narrative, however his scene transitions are amateurish and his work is not helped by the TV drama-styled editing (not to mention the melodramatic music cues). Jeffrey Hunter (curiously billed as Jeff Hunter) begins the film behaving like a staunch, overgrown Boy Scout, but by the second-half really goes out on a limb with the tics, cold sweats, and stammers of a man driven half-mad by desire. Screenwriter Mann Rubin preys upon the viewer's fear of insanity by setting our hero up as a dupe, a willing 'Gaslight' victim who may not be one-hundred-percent in the head anyway. There are no surprise twists to the plot, nor do Conrad or Rubin mean this to be a cautionary tale for would-be illicit lovers. It's rather a squarely straightforward tale with incidental characters (such as Viveca Lindfors' sweetly smiling doctor) who are never fully explained and a finale that is meant to be highly shocking. **1/2 from ****

What I found most interesting about this movie was the idea of Jeffrey Hunter's character feigning insanity. I wondered was he really faking or just deluded? Because, the idea of pretending to be insane to the nth degree sounds, well, insane. I thought the movie was well cast. However, Jeffrey Hunter steels every scene he is in as he seemed to revel in this role. It was good to see Jeffrey Hunter in a role he could sink his teeth into. He did a good job in communicating his desperation. It would have been nice to see him in more character roles. If you want to see Jeffrey Hunter in a role that is out of character then this is a movie worth checking out.

Like Raymond Burr, William Conrad started out in late-40s film noir as (no surprise) a heavy, and also ended up in series television ("Cannon"). But he also produced and directed both TV and some movies. His Brainstorm arrived in 1965, smack in the transition period from big old films made in the style of the studios to the newer kinds of filmmaking in the 1970s renaissance. It's an offbeat but interesting movie. The first third recalls Max Ophuls' Caught, the middle Billy Wilder's Double Indemnity, and conclusion Samuel Fuller's Shock Corridor. Jeff Hunter is a computer whiz working in some top-secret aerospace concern run by sinister mogul Dana Andrews. One night Hunter finds a car stalled on a railroad track with a woman (Anne Francis) passed out inside. He rescues her, and she turns out to be Andrews' wife, who was making a suicide attempt. Major complications ensue, with romantic involvement leading to attempts to "gaslight" Hunter which in turn engender a plot to murder Andrews. Viveca Lindfors turns up as an enigmatic psychoanalyst in this roiling plot that, in the spirit of the 60s, poses the question, "Is insanity contagious?"