DOCTORS' WIVES (1971)

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.

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.

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.

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.

Suitability for young viewers: No. Male nudity, female nudity, adult themes, graphic depiction of surgical operation.

Overall Grade: B

Link: IMDB Page

Movie Excerpt

THE LOVE MACHINE (1971)

 

Title: THE LOVE MACHINE

Year of Release: 1971

Director: Jack Haley Jr.

Genre: Drama

Synopsis: An ambitious, womanizing television anchorman rises through the ranks and becomes head of the network, but suffers a humiliating fall from grace.

Within a film history context: Several of author Jacqueline Susann's novels were adapted into motion pictures in the late 1960s to the mid-1970s. The first of these, VALLEY OF THE DOLLS (1967) caused a sensation in both its print and film adaptation, although looked down upon by film critics. ONCE IS NOT ENOUGH (1975) was the last of Miss Susann's novels to receive a film treatment, and was also successful at the box office. THE LOVE MACHINE (1971), falling in between both of the previous films, was not a box-office hit, failing to generate the popular momentum of the other two movies. Like the other two films, THE LOVE MACHINE was another Jacqueline Susann vehicle that followed a central character corrupted by life and themselves being corrupted before eventually seeing the light. Unlike VALLEY OF THE DOLLS and ONCE IS NOT ENOUGH, THE LOVE MACHINE lacked the lush romantic angle which characterized the former films, the latter geared more toward salaciousness, satire and comedy.

Overview: Jack Haley Jr. directed only two feature films in his career, the first being NORWOOD (1970) with THE LOVE MACHINE his second film. The remainder of his time was spent in television directing specials, episodes of television shows, and telemovies. THE LOVE MACHINE is probably the most well-known of his two films. Whereas NORWOOD was a comic movie with musical asides, THE LOVE MACHINE was similar in the manner in which it handled its comic content, but in a coarser, raunchier manner. While it is a movie that is not unlikable, the combination of many disparate elements renders it uneven overall. It ranges from being a straight drama to a comedy, with tragic moments in between, some satirical, to a battle of the sexes.

The narrative of a man willing to do anything to rise in the television industry is handled well by the director if at times events occur too quickly, and the impact of these, how, and why they happen, are not felt by the audience. I found the depiction of the behind-the-scenes shenanigans at a television network, with its flawed personalities and outrageous events interesting, if somewhat nonsensical at times. It is a complete contrast to the heated goings-on at a television station in NETWORK (1976), which was more in-depth than THE LOVE MACHINE in this arena. The interpersonal relationships between the characters are engaging in THE LOVE MACHINE, but many needed further development.

The main protagonist, Robin Stone, seems to hop in and out of bed with various women at lightning pace, but these transient relationships are mainly handled in a cool, indifferent manner. The only two relationships that have a major impact plot wise and drive events forward are Robin Stone's pairings with Amanda, and Judith. As a side note, Mr Law's Robin Stone did seem to be well-matched with whichever female character he was paired, no mean feat on his part. To the film's detriment, though, characters such as Tina St. Claire pop in and out of the film, with the effect that these actors are wasted in the film, and their talents not fully utilized.

Despite its reputation which clouds the film's virtues, THE LOVE MACHINE does feature some effective stories. Amanda's suicide, Robin Stone's tussle with a prostitute, the crumbling marriage of Greg and Judith Austin, Robin's friendship with photographer Jerry, and the fall-out from this all carry weight, but the film does not gel into a cohesive whole. A watchable if inconsistent film, THE LOVE MACHINE does deserve credit for at least attempting to tackle a combination of genres, but with the end result not being as successful as one would wish.

Acting: The performances in this film are sound overall, with some standing out more than others. John Phillip Law as Robin Stone is good in the film, and despite seeming cold and unfeeling, offers an interesting interpretation of the lead character. With his good looks, deep voice, and steely confidence, Mr Law did display the character's vulnerability in scenes such as his reaction to model Amanda's death, greeting comedian Christie Lane in the office scene, and in his scenes with Judith Austin. [When I first saw the film I was struck by John Phillip Law's resemblance to fellow actor Jeff Tracta from television serial The Bold and the Beautiful - just something I picked up on]. Jodi Wexler made a valiant attempt to make her ill-fated character Amanda striking, but the writing of Amanda as a one-note, insecure young woman did not fully assist her in making the character more rounded. Alexandra Hay, in a tiny role as Robin Stone's amour, was pert and comical, giving her cameo character some spice, and precipitating Amanda's downfall. Other actors also did a comfortable job in their roles in THE LOVE MACHINE which deserve mention.

Robert Ryan was solid in the film, from being in charge at the network to his strained marriage to Judith, he added just the right amount and humour and authority to give his role credence. David Hemmings contributed much to the film as the gay photographer with designs on Mr Law, going head to head with Dyan Cannon in one of the film's most outré scenes. Jackie Cooper was entertaining as Mr Law's rival at the network, his enthusiasm palpable. Maureen Arthur, unfortunately, was wasted in the role of Ethel Evans. If one has seen Miss Arthur's other performances such as in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967), her energy and sass were second to none, and one of the reasons why that film worked so well. In this film the writing of the role took away that individuality, not allowing her to shine. I did find her pairing with Shecky Greene, though, to be quite entertaining, but the film did not capitalize on their combined personalities which was disappointing. Ethel Evans' flirtation with Robin Stone was another brief shining moment that added dimension to the film as, notably, she was one of the women with whom Robin Stone did not have an affair. I found two contributions, though, to be extremely proficient in the movie.

Dyan Cannon always gives a great performance, with her vitality and sensitivity well on display in THE LOVE MACHINE. Miss Cannon also has great dramatic impact especially during the rambunctious fight scene close to the end of the film, her interactions with Robert Ryan, and burning a bed when she discovers something unsavoury about Robin Stone, and exacts revenge. Apart from Dyan Cannon, I also found Shecky Greene's acting to be very pleasing. Playing a comedian in the film, Mr Greene brought a change of atmosphere to the proceedings with his booming voice and easy manner, setting him apart from the movie's other male characters. The scenes where he proposes to Amanda reveal an appealing softness and vulnerability behind the ever-present comic façade. The subsequent events where Amanda rejects him, and he reacts with sheer annoyance to her presence thereafter, had believable poignancy and depth.

Soundtrack: The use of 'He's Moving On' sung by Dionne Warwick is catchy and one of the main reasons the film remains in the memory. It not only comments about the film's protagonist but also provides a breezy, melodic counterpoint to the movie. THE LOVE MACHINE also utilizes 'Amanda's Theme' as a theme for its ill-fated female character. Unlike 'He's Moving On', "Amanda's Theme' is a quieter, more pensive musical arrangement that perfectly reflects the qualities that the character embodied in the movie.

Mise-en-scene: The film's sets were all well done, ranging from Robin Stone's luxury apartment, with its spare but elegant furnishings, the gracious mansion of Greg and Judith Austin, with its fine furniture and ambience oozing distinctiveness and class. The offices of the television network were slightly crass and garish in nature, but this could be seen to reflect the rough and tumble nature of the television network in the film. The costuming for the female characters in many instances in beautiful, with actresses featured in lush furs and fine fabrics. The costuming for Amanda's photo-shoot, at times, seems to be left of centre at times, but this is no ordinary film, these creations fitting in with the film's offbeat nature. Costume designer Moss Mabry was possibly making an analogy between the ephemeral, fickle natures of fashion and television through the use of his designs in the film.

Award-worthy performances in my opinion: Dyan Cannon, Shecky Greene, Robert Ryan.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

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