A Day in the Death of Joe Egg

Screenwriter Peter Nichols, adapting his play, deals with the timeless subject of how humans--as married people and parents--deal with the difficulties of raising a handicapped child. Alan Bates and Janet Suzman are marvelous as the joshing twosome in Bristol who appear to be on the same page when it comes to spastic daughter Jo, who can't walk or talk in her semi-vegetative state. But, as Nichols takes us back into the couple's past, we see that husband Bates never held out much hope that Jo would get any better, while his spouse--realistic and yet optimistic--clings to the belief that one day there will be signs of life (and that it is her duty to keep this belief alive). Although marvelously literate and well-acted, the film rarely escapes its stage origins; director Peter Medak is occasionally nimble, but he doesn't do a warm-up on this scenario for our benefit, and the downbeat nature of the film's theme coupled with the gloomy look can be wearing. Cinematographer Ken Hodges does capture some great, moody scenes (especially Bates' flight-of-fancy on the beach when first discovering his baby daughter might be seriously troubled). However, the second-act conversation with visiting friends discussing the merits of putting the child into a nursing home isn't as pointed as it should be (and as it needs to be, since it mirrors the dialogue in the final scenes). The heady climax really needs to be seen twice, as the tone suddenly shifts into extremely personal drama--and one is caught unprepared for its impact. Certainly worthwhile for patient viewers willing to let this story unfold. It's a thought-provoking piece wherein tough decisions have to be made, but I only wish we were more emotionally invested in the main characters. The leads do superlative work, yet the flashbacks, monologues and hearty ribbing don't reveal as much as one might hope. **1/2 from ****

Its such a shame that an important film like this is virtually unknown.

I don't think Alan Bates has done a better film than this.

Its never shown on television. The only time I can recall it being shown on British TV was in the summer of 1998. I have it on tape but sadly the quality isn't great due to a dodgy aerial at the time...

I remember wanting to see this film for some time before it appeared on TV. It was shown on Channel 4 in the early hours of the morning, thereby ensuring that it still remained unseen except for a very small audience.

I was living in Bristol at the time and it was ironic that, when I finally saw the film, I realised that I had walked past the VERY house where it was filmed several times before!! The film treads a fine line; a married couple attempting to make light of their tragic predicament of coping with their severely mentally handicapped daughter by laughing about it and even involving the child in their jokes.

The direction and the acting are so superb that the film is always compassionate and moving and is never in danger of lapsing into bad taste.

A couple of years ago I saw a clip of the filmed theatre production with Eddie Izzard in the role of Bri and Victoria Hamilton playing Sheila.

It showed Izzard improvising and larking about and Hamilton jokingly telling the audience to ignore him when he's being like this.

I maybe taking this out of context as I only saw a brief clip but having read the play and seen the film this is clearly such a delicate subject that such an approach is both insensitive and disrespectful.

Izzard was praised for his performance but I felt uncomfortable with what I saw.

It is perhaps surprising that such a successful play failed to find an audience when it was finally filmed.

This is one of the best British films of the 70s and hopefully it will be released on DVD one day.

This is a challenging film but with wonderful performances from both Alan Bates and Janet Suzman plus the stunningly heartfelt and comedic writing of Peter Nichols and solid direction of Peter Medak, not quite as challenging as doing justice to it in a just a few words. Glowingly received as a stage play in the 60s, the film never had the same success and has, indeed, been little seen since its delayed release in 1972. At the centre is the near lifeless, severely mentally disabled, eleven year-old, affectionately referred to by the parents as 'Joe Egg'. Central to the events but also peripheral in the sense that this is more about the seeming imminent collapse of a marriage as the couple, understandably, have to spend more time caring and not contemplating euthanasia than on their own life together. Instead a fantasy world of characters and events is created, shades of 'Who's Afraid of Virginia Woolf', that at least gives the viewer the spectrum of humour through which to take on some of the issues raised and reduce the impact of the potentially terrifying reality being presented and the limited options seemingly available. Not a bundle of fun, but very funny nevertheless.

I have sen many plays that deal with black comedy, but Joe Egg seems to be at the top of a very short list for me.

It deals with REAL issues that cover death, life, love, ambition and reality in a way that really gets you involved!

I new version is available staring Eddie Izzard where the writing comedy of the acting REALLY stands out!

If your not into plays but want a foot old into the genre... then watch this!

It is worth the time! and you will never forget some of the issues!

This British film starring the talented Alan Bates and Janet Suzman, a titular British actress is not funny; not in the least. I tried to find the humor in the film that it was supposed to have, but it somehow eluded me. Instead, what I saw was a relentlessly depressing film about the parents of a vegetative daughter. Two primary elements of the film were extremely depressing; one was the state of the daughter, and the other was the ongoing romance between the mother and father, who, despite this horrible fate, still found solace in each other's arms. However, that does not qualify as black comedy to me. It only qualifies as a double tragedy. Not only will the child eventually die without gaining consciousness, but the love between Bates and Suzman is also doomed to a premature death. How can anyone find a situation like that funny? Not me.