Title: DOCTORS' WIVES
Year of Release: 1971
Director: George Schaefer
Genre: Drama
Synopsis: When flirty, promiscuous Lorie Dellman is shot dead by doctor husband Mort after finding her in flagrante with his colleague, this is the impetus for the other doctors' wives to take stock of their lives and marriages.
Within a film history context: Films about doctors and their personal lives have often been featured over the years. One of the very first to showcase a doctor and his wife was an unrelated film with the exact same title of DOCTORS' WIVES (1931). Directed by Frank Borzage, renowned for his romance films, it centres upon a doctor and his wife, the husband's long hours as a practitioner causing problems in his marriage. One of the next films to deal with a doctor and his wife was the British MGM film THE CITADEL (1938). While it retained some of the flavour of the novel, its tragic ending was watered-down for its cinematic adaptation, with Rosalind Russell lending a more emancipated rendition of the wife than the novel offered. Other films with a doctor and his wife were as varied in tone as the years progressed.
THE DOCTOR TAKES A WIFE (1940), helmed by Alexander Hall, put a different spin on the doctor-wife theme, with a female author becoming involved with a doctor, with farcical results. Vincente Minnelli's MADAME BOVARY (1949) was about a doctor's wife who indulged in an extravagant lifestyle, and in adulterous liaisons. DOCTOR ZHIVAGO (1965) directed by David Lean, had a married physician who fell in love with another woman in the Russia of the 1910s. DOCTORS' WIVES, on the other hand, spotlighted not only one doctor-wife pairing but five, making it a multi-character narrative. It also differed from the other films with its racy tone, turning the more subdued mood of the other films on their heads. Much more satirical and risqué in content than the other doctor-wife movies, DOCTORS' WIVES distinguished itself in this genre with its frank treatment of sexuality, which was often more comic, and dialogue-based, than openly erotic in nature.
Within a film history context: Films about doctors and their personal lives have often been featured over the years. One of the very first to showcase a doctor and his wife was an unrelated film with the exact same title of DOCTORS' WIVES (1931). Directed by Frank Borzage, renowned for his romance films, it centres upon a doctor and his wife, the husband's long hours as a practitioner causing problems in his marriage. One of the next films to deal with a doctor and his wife was the British MGM film THE CITADEL (1938). While it retained some of the flavour of the novel, its tragic ending was watered-down for its cinematic adaptation, with Rosalind Russell lending a more emancipated rendition of the wife than the novel offered. Other films with a doctor and his wife were as varied in tone as the years progressed.
THE DOCTOR TAKES A WIFE (1940), helmed by Alexander Hall, put a different spin on the doctor-wife theme, with a female author becoming involved with a doctor, with farcical results. Vincente Minnelli's MADAME BOVARY (1949) was about a doctor's wife who indulged in an extravagant lifestyle, and in adulterous liaisons. DOCTOR ZHIVAGO (1965) directed by David Lean, had a married physician who fell in love with another woman in the Russia of the 1910s. DOCTORS' WIVES, on the other hand, spotlighted not only one doctor-wife pairing but five, making it a multi-character narrative. It also differed from the other films with its racy tone, turning the more subdued mood of the other films on their heads. Much more satirical and risqué in content than the other doctor-wife movies, DOCTORS' WIVES distinguished itself in this genre with its frank treatment of sexuality, which was often more comic, and dialogue-based, than openly erotic in nature.
Overview: George Schaefer directed only five feature films in his career, beginning with crime drama PENDULUM (1969), comedies GENERATION (1969) and ONCE UPON A SCOUNDREL (1973), and ending with the drama AN ENEMY OF THE PEOPLE (1978). Mr Schaefer, though, directed a multitude of telemovies which were as diverse in content as his motion pictures, with comedy, drama and fantasy some of the genres he tackled. DOCTORS' WIVES was his third motion picture, and the film for which he is generally best known.
An adaptation of Frank Slaughter's book of the same name, DOCTORS' WIVES explores the lives of five doctors and their wives, particularly their private lives, and how events in these spill over into their public lives, many times with disastrous results. While the film's plot and much of the action could be classified as being lurid or salacious in nature, the director has successfully made a movie which effortlessly transitions from event to event, and from marriage to marriage, in an entertaining and in many instances, thought-provoking manner.
The movie's merry-go-round of musical beds and relationships affords the actors ample opportunities to emote, and they make the material even better than what it would have sounded on paper. Many raucous moments ensue in DOCTORS' WIVES which are too delicious, and performed with such gusto, that they deserve mention. One of these is where one of the wives challenges the others that she will bed each and every one of the other wives' husbands, a saucy opening that primes the viewer for more raunchiness down the line. Others such as the PhD student who tape records encounters with her amours, and the lusty male intern who has his eye on all the doctors' wives, are, in all honesty, over the top, but they work. The film in some ways resembled an American dramatic version of the British CARRY ON movies, with their headstrong bawdiness on display for all to relish. Where the CARRY ON series utilized innuendo and double entendre instead of straight talk, DOCTORS' WIVES differed in that discussion of sexual matters was more forthright than the comedy series. DOCTORS' WIVES, though, is not all hijinks without credibility.
Mr Schaefer balances the humorous moments with more serious scenes, and the result gels remarkably well as a whole. Witnessing the crumbling marriages of the doctors, and watching them and their wives trying to make the best of matters but always making mistakes, is honest, investing what may have seemed one-dimensional characters with realism. The Machiavellian schemes of malevolent Doctor Mort Dellman, the tenuous, love-hate Randolph marriage, Doctor Peter Brennan's attraction to his African-American nurse, and the tragi-comic marriage of the Hays, stand out in particular in DOCTORS' WIVES. In summing up this movie, the main objective of DOCTORS' WIVES appears to be sheer escapist entertainment, but, in its case, with many edifying and thoughtful moments which add depth, and resonance, to the proceedings.
An adaptation of Frank Slaughter's book of the same name, DOCTORS' WIVES explores the lives of five doctors and their wives, particularly their private lives, and how events in these spill over into their public lives, many times with disastrous results. While the film's plot and much of the action could be classified as being lurid or salacious in nature, the director has successfully made a movie which effortlessly transitions from event to event, and from marriage to marriage, in an entertaining and in many instances, thought-provoking manner.
The movie's merry-go-round of musical beds and relationships affords the actors ample opportunities to emote, and they make the material even better than what it would have sounded on paper. Many raucous moments ensue in DOCTORS' WIVES which are too delicious, and performed with such gusto, that they deserve mention. One of these is where one of the wives challenges the others that she will bed each and every one of the other wives' husbands, a saucy opening that primes the viewer for more raunchiness down the line. Others such as the PhD student who tape records encounters with her amours, and the lusty male intern who has his eye on all the doctors' wives, are, in all honesty, over the top, but they work. The film in some ways resembled an American dramatic version of the British CARRY ON movies, with their headstrong bawdiness on display for all to relish. Where the CARRY ON series utilized innuendo and double entendre instead of straight talk, DOCTORS' WIVES differed in that discussion of sexual matters was more forthright than the comedy series. DOCTORS' WIVES, though, is not all hijinks without credibility.
Mr Schaefer balances the humorous moments with more serious scenes, and the result gels remarkably well as a whole. Witnessing the crumbling marriages of the doctors, and watching them and their wives trying to make the best of matters but always making mistakes, is honest, investing what may have seemed one-dimensional characters with realism. The Machiavellian schemes of malevolent Doctor Mort Dellman, the tenuous, love-hate Randolph marriage, Doctor Peter Brennan's attraction to his African-American nurse, and the tragi-comic marriage of the Hays, stand out in particular in DOCTORS' WIVES. In summing up this movie, the main objective of DOCTORS' WIVES appears to be sheer escapist entertainment, but, in its case, with many edifying and thoughtful moments which add depth, and resonance, to the proceedings.
Acting: This is a film in which the entire cast perform admirably, with no miscasts or shallow acting. The most striking, but brief acting performance in DOCTORS' WIVES is that of Dyan Cannon. In the space of only a few minutes, Miss Cannon projects such verve, such clarity in her role of a nymphomaniac doctors wife that it is disappointing how her role comes to an end so quickly, but her cameo is nevertheless thoroughly effective, kicking off the film's drama. As her husband, John Colicos is alternately evil, grasping, scheming, righteous, but very watchable. While his actions are reprehensible, he is able to impart a small shred of understanding from the audience through his actions. Ralph Bellamy, star of classic Hollywood films lends a sympathetic but weighty presence as Miss Cannon's practical, moral father. His scenes with both John Colicos and especially, Richard Crenna, explore many sides of the emotional spectrum without ever becoming hysterical. Several other actors also shine in DOCTORS' WIVES in a film which could be well described as an ensemble piece.
Richard Crenna is fine as stalwart Doctor Peter Brennan, probably the most grounded of all the doctors. His dilemma between staying married to wife Amy, and his attraction to nurse Helen, is handed admirably by Mr Crenna. It is easy to see why he is so conflicted with both women bringing out a different side of him in the movie. Janice Rule is delicious as Amy Brennan, both her quiet seething, and icy line readings excellent, and reaction to Nurse Helen showing a more vulnerable side to the character. Diana Sands gives a sensitive, moving performance as Nurse Helen, showing pain and despair without ever seeming pathetic. Other supporting roles have been well-furnished in the production, the director also eliciting great performances from his other actors.
Anthony Costello is just right as the male intern cum gigolo who entertains the doctors' wives, and other women, with his ingratiating and sometimes seedy charm. Kristina Holland is delightful as the PhD medical student with more than study on her mind, with a soft voice and sassiness rounding out a fun performance. Cara Williams is witty, earthy, and exudes glamour as the wife of Carroll O'Connor, her long eyelashes and dead-pan stare speaking volumes without having to utter dialogue in many scenes. Carroll O'Connor perfectly matches Miss Williams with his pragmatic, and slightly melancholy nature utilized to sound effect in DOCTORS' WIVES, as the most humorous of the husbands. Rachel Roberts contributes what is probably the most compelling of all the performances in the film. Her Della Randolph is fierce, vituperative, needy, loving, pensive, helpless at times, but utterly watchable. A forceful actress who always got to the heart of her characters, and painted vivid portraits of flawed but very real human beings, Rachel Roberts' scenes in the film are one of the top features of DOCTORS' WIVES.
Richard Crenna is fine as stalwart Doctor Peter Brennan, probably the most grounded of all the doctors. His dilemma between staying married to wife Amy, and his attraction to nurse Helen, is handed admirably by Mr Crenna. It is easy to see why he is so conflicted with both women bringing out a different side of him in the movie. Janice Rule is delicious as Amy Brennan, both her quiet seething, and icy line readings excellent, and reaction to Nurse Helen showing a more vulnerable side to the character. Diana Sands gives a sensitive, moving performance as Nurse Helen, showing pain and despair without ever seeming pathetic. Other supporting roles have been well-furnished in the production, the director also eliciting great performances from his other actors.
Anthony Costello is just right as the male intern cum gigolo who entertains the doctors' wives, and other women, with his ingratiating and sometimes seedy charm. Kristina Holland is delightful as the PhD medical student with more than study on her mind, with a soft voice and sassiness rounding out a fun performance. Cara Williams is witty, earthy, and exudes glamour as the wife of Carroll O'Connor, her long eyelashes and dead-pan stare speaking volumes without having to utter dialogue in many scenes. Carroll O'Connor perfectly matches Miss Williams with his pragmatic, and slightly melancholy nature utilized to sound effect in DOCTORS' WIVES, as the most humorous of the husbands. Rachel Roberts contributes what is probably the most compelling of all the performances in the film. Her Della Randolph is fierce, vituperative, needy, loving, pensive, helpless at times, but utterly watchable. A forceful actress who always got to the heart of her characters, and painted vivid portraits of flawed but very real human beings, Rachel Roberts' scenes in the film are one of the top features of DOCTORS' WIVES.
Soundtrack: The soundtrack of DOCTORS' WIVES is subtle and quite spare, but this is standard for many films of the early 1970s. The opener consists of a doctor and his wife seen through a translucent screen, with the theme piano music playing in the background, highlighting the intimate and revealing nature of what is taking place on screen. There is also the use of Cass Eliot's theme song in the scene with Dyan Cannon and John Colicos which is reflective of Miss Cannon's character, and what is to take place in the film later. This piece is also utilized at the film's conclusion which ties up the events in a logical fashion. Instrumental variations of the opening theme are played at other important moments in the film, such as Della's revelations to husband Dave, and also at the country club segment where some of the wives hear news over the radio.
Mise-en-scene: The production values of DOCTORS' WIVES are of a very high standard, a key feature of films produced by Mike Frankovich. From the luxuriously appointed homes of the doctors, in particular the plush residence of Doctor Dave Randolph and wife Della, the elaborate and well-equipped hospital set, to the many outdoor sequences such as Della playing golf at the county club, the producers have not skimped on the visual aspects of the film. The sets and backgrounds are both easy on the eyes but also, add drama and place the lives of the characters into context, reflecting well-to-do doctors and their personal, and private activities.
The costuming is another facet of the film which serves it well, designed by Moss Mabry. The wardrobe for the female characters is appropriately understated for everyday wear, but the initial scenes in the club present the doctors wives in beautiful garments that are not over the top, and suit the actresses in question. The doctors themselves wear expensive suits that again are well-tailored and suitable for the male actors, giving them an upscale appearance in keeping with the tone and presentation of the film. There is also the subtle inference that while the doctors live in well-to-do homes and wear expensive wardrobes, that their messy and scandalous private lives are in contrast to glossy surface appearances.
Award-worthy performances in my opinion: Dyan Cannon, John Colicos, Richard Crenna, Diana Sands, Janice Rule, Ralph Bellamy, Anthony Costello, Kristina Holland, Cara Williams, Carroll O'Connor, Rachel Roberts.
The costuming is another facet of the film which serves it well, designed by Moss Mabry. The wardrobe for the female characters is appropriately understated for everyday wear, but the initial scenes in the club present the doctors wives in beautiful garments that are not over the top, and suit the actresses in question. The doctors themselves wear expensive suits that again are well-tailored and suitable for the male actors, giving them an upscale appearance in keeping with the tone and presentation of the film. There is also the subtle inference that while the doctors live in well-to-do homes and wear expensive wardrobes, that their messy and scandalous private lives are in contrast to glossy surface appearances.
Award-worthy performances in my opinion: Dyan Cannon, John Colicos, Richard Crenna, Diana Sands, Janice Rule, Ralph Bellamy, Anthony Costello, Kristina Holland, Cara Williams, Carroll O'Connor, Rachel Roberts.
Suitability for young viewers: No. Male nudity, female nudity, adult themes, graphic depiction of surgical operation.
Overall Grade: B
Link: IMDB Page
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