User reviews

This movie, based on a novel, was made when expensive private mental hospitals provided months or years of psychoanalytically-oriented treatment for small numbers of affluent patients. None of today's antipsychotic or mood-stabilizing pharmaceuticals was yet in use. (One scene shows a patient in a hydrotherapy tub - used for sedation.) Dr Devenal, when things are falling apart, ruefully looks at the book he has written – "The Theory and Practice of Milieu Therapy." This was an important movement in the 1950's, proposing that the patient community was a significant element of the treatment. Patient governments voted on many aspects of institutional life and even, at times, on treatment decisions that properly were the responsibility of professional staff. Conflict over new drapes seems today to be a foolish plot element, but, although exaggerated, it fit the context of the time.

Richard Widmark is a psychiatrist in "The Cobweb," also starring Lauren Bacall, Lillian Gish, Charles Boyer, John Kerr, Susan Strasberg and Gloria Grahame. It's quite a cast, especially when you realize that they were directed by Vincent Minnelli.

It's an absorbing story of the patients and the doctors at a mental institution. Widmark has basically taken over from the troubled Boyer - though Boyer retains his title, Widmark's contract gives him more power. Bacall, a recent widow, is a doctor on staff, and Lillian Gish is an administrator. The patient most focused on is Stevie, played by John Kerr. He is making good progress with his recovery, and in fact, some of the better patients are given control over designing their lounge. The sticking point becomes the draperies which become a political football. Widmark's wife, Gloria Grahame, wants to impose herself onto the institution that is taking her husband away from her by working with a board member on the drapes; Lillian Gish wants to save money and go the cheap route; and the patients have their own ideas.

This is a very good drama with good acting from all involved. Grahame is a brunette here and has never been more beautiful, plus she gets to wear some beautiful clothes. She, along with the others, gives a terrific performance.

The one with the best role is Lillian Gish, and she is fantastic. What an actress and what a career. Who could have believed she could play such a perfect bitch? Well worth watching if the plot is a little thin.

Well what was that?! Cockamamie confection isn't even psychiatry lite just some nonsense that's all about the DRAPES!!!! Truly odd film is loaded with great actors and a ludicrous story.

How it ever got the green light from the studio is mystery number one, that Vincente Minnelli said okay to directing it is the second although that would explain why so many great actors allowed themselves to be involved.

Everybody gives overheated performances except Lauren Bacall who keeps a low-key dignity amongst the melodrama and Susan Strasberg offers a restrained quiet portrait of a shut-in who is making her first tentative steps towards reemerging into the world.

The rest of the players aim for the rafters to varying degrees from Richard Widmark's impassioned but distracted doctor who is merely agitated then there is Lillian Gish who chews a bit of scenery as a bitter spinster as well as many other respected actors who show little restraint.

The real standout though is Gloria Grahame as Richard's hot mess of a wife, she seems to realize how silly the whole thing is and pitches her performance to that tempo, she's jittery, flouncy and fun plus she looks great.

Laughable take on mental health but good for one fun viewing as a camp catastrophe.

Minnelli's "The Cobweb" explores the fascinating, disturbing idea of a mental institution where the personal quirks of the staff and their families unwittingly have an impact on the patients. In Minnelli's films, his neurotic, lonely, unsettled characters always lead to some climactic nightmarish outburst (even the musicals), but here the whole movie is really a neurotic outburst. Amazingly, it all snowballs out of seemingly the most trivial decision: the new draperies.

What's interesting is that there is no antagonist; like "Howards End" or Eastwood's "Unforgiven", all the characters do bad things for understandable reasons and thus construct the cobweb. This compares favorably with other nuthouse movies, especially ones about the group therapy system--"Cuckoo's Nest" (based on Ken Kesey's novel of 1950, 5 years before "Cobweb") and "The Caretakers" with Joan Crawford as the inflexible head nurse. Those films tend to focus on patients having hysterics and running riot. They don't indict the system but one despotic individual within it (a head nurse); Kesey's narrator claims that she represents a larger controlling force but even then shows that other wards in the hospital are not the same. However, "Cobweb" takes a more subtle nobody's-fault approach that ultimately has wider, darker implications. It implies that these pitfalls are endemic to the system because they are part of human nature, which is a more sinister idea (especially for the 50s) than being able to blame a convenient mini-Hitler. Therefore, it works more convincingly as a microcosm of a society that thinks it's healthy. It's also more salutary and hopeful than those films because it proceeds from this clear-eyed cautionary assessment.

In the true sense of "melodrama," it underlines apparently innocuous early scenes with heavy foreboding music by Leonard Rosenman. It's also astonishing to watch Lillian Gish play a b----. And she does a great job.

This is a very strange film about a mental institution which is operated by Dr. Stewart McIver, (Richard Widmark) and Dr. Douglas Devannal, (Charles Boyer). Stewart is married to Karen McIver, (Gloria Grahame) and they are both having marital problems, she claims he does not pay much attention to her and especially in bed. Meg Rinehart, (Lauren Bacall), is a new employee with the hospital and is divorced and has a young son. All of the staff has their own serious problems as well as trying to take care of some very serious mental patients who require a great deal of attention. It is hard to believe that the main subject in this film is about just plain simple drapes and just where to hang them and this is causing a great deal of problems with the patients and staff. Richard Widmark and Lauren Bacall gave a great performance along with the very sexy gal, Gloria Grahame. This is a very crazy film and it will keep you guessing just how this picture will ever end.

You can see what attracted Minnelli to this story, as it's partly about a conflict over decor. Maybe this worked in the novel, but it's hardly the stuff of compelling screen drama. Of course the choice of drapes is symbolic of independence to the patients, and symbolic of her power to Miss Inch, and it's actually a realistically mundane conflict such as might actually occur anywhere. It just seems to be much ado about nothing when it's acted out.

Minnelli uses a bit of the soundtrack of Seven Brides For Seven Brothers, here (the picture that trumped his own Brigadoon at the box office) - in a scene at the movies. Guess he had no hard feelings.

One of Minnelli's interesting misfires. Even though it doesn't really work, I've seen it three or four times.

The acting is good, overall. Richard Widmark (as the director of the clinic) has two leading ladies, Lauren Bacall and Gloria Grahame. This is one of the few times I've ever really seen Grahame miscast. She had a wide range, after all she played everything from Violet Bick in It's A Wonderful Life, to Rosemary Bartlow in The Bad And The Beautiful, to Ado Annie in Oklahoma. But I think you will agree her role defeats her best efforts here. She starts out very well but I'm not sure I always understood where she was coming from as the film wore on. Bacall plays a simple, sensible girl, and does a good job. Lillian Gish plays the unpredictable Miss Inch, Charles Boyer the self-destructing Dr. Devanal, John Kerr the young and artistic Stevie (a role originally announced for James Dean). Oscar Levant is called upon to go outside his usual comfort zone and I'm not sure he makes it. Susan Strasburg is excellent in a small role.

Two words spoken by a patient pretty much sum up this whole film, start to finish- "I'm phobic!". It's all phobia, neurosis and hysterics, so its kinda like watching a train wreck.

The main difference between patients and staff is that the patients seem more self aware, often knowing just what their problems are, in contrast to the staff who flounder in self ignorance while totally unaware of their own internal issues. Overall the film lacks much depth, maybe the depth was lost in the editing process, so that we are left with...well...mostly just drapes (at least four different sets of drapes by my count, if you include the originals that are to be replaced). Maybe the writers of this story had a drapery fetish? Strange, but you never know!

Lillian Gish and Gloria Grahame steal the movie and their performances are worth your viewing time. The whole movie is a guilty pleasure, as neither inmates nor staff seem to be in charge of this asylum. Its fun to watch as the wheels come off and the "Institute for Neurosis" descends into 1950's campy chaos.

In the 1950's, Vincente Minnelli was making some of the strongest films in Hollywood. Pictures like Some Came Running and The Bad and the Beautiful were very strong and probing studies of American life; The Cobweb deserves to be considered alongside these great films. The tranquil world of a psychiatric clinic in the Midwest countryside (somehow I can see cows in the fields even though there aren't any) is disrupted by a power struggle between two strong-willed men: Dr McIver, a young man whose first important post this is, and Dr Devanal, who has spent more than 20 years at the clinic and seems to be burnt-out. A stiff-necked spinster, Victoria Inch, whose father had created the clinic does everything she can to aggravate the principals. The clash between old settled practices and innovative new ones is the subject of the film.

People fret about the drapes--well really they're only the trigger for the clash. I have the strong feeling that by leaving Chicago to settle in this back-water, McIver has made a mountain of trouble for himself. His wife Karen (splendid performance by Gloria Grahame) is experiencing severe boredom and frustration; she's a sensual romantic woman who is being ignored by her husband, who is trying to find romance with Meg Rinehart (a cool Lauren Bacall). The romantic disappointments of the main characters make this film work.

As the great satirist Tom Leher once observed, "If people can't communicate then the very least that they should do is to shut up". "The Cobweb" is a perfect case in point. There's a tremendous amount of talk in this movie, but almost no communication. The plot revolves around the selection of new drapes for the library in a psychiatric hospital. However, it's the lack of communication in regard to that issue, and the complications ensuing therefrom, that form the crux of the story.

Along the way it becomes clear that the staff are not all that much more well-adjusted than the inmates. They display a great deal of professional and personal jealousy, insecurity and frustration. But then, as the frustrated head of the Bullock household wisely observed in the classic screwball comedy film, "My Man Godfrey", "All you need to start an asylum is an empty room and the right kind of people." There are plenty of the right kind of people in "The Cobweb", among both the staff and the inmates.

Directed by Vincent Minelli and featuring a first-rate cast (including one of the great stars of silent films, Lillian Gish), "The Cobweb" had all the elements to have become a really great movie. Nevertheless, somehow, it doesn't quite come off. Perhaps it's because the film is a little bit too talky. Perhaps the issue of which drapes to hang in the sanatorium library is a bit too minor and superficial to excite the viewer's attention. Nevertheless, if you haven't seen this one, give it a chance, it might just grab you.

MGM put together quite a stellar cast for The Cobweb, another film in the tradition of Private Worlds and The Snake Pit about an insane asylum and the politics of running the place. After seeing this crowd at work, I'm not sure that the patients haven't taken over the place as they did in that classic Star Trek episode.

Richard Widmark is a new psychiatrist whose new methods allow granting of more freedom of the grounds to the inmates. What Widmark's character might think today of the number of patients walking around completely free today with only our trust that they will take their medications is interesting to speculate. Anyway it puts him at odds with Charles Boyer who is the medical head of the place.

Boyer is a man beset with problems of his own of a personal nature, he's drinking and wrenching around openly, a man going through a midlife crisis and playing it out in front of everyone including all the enemies he's made. Widmark however as a former disciple of his can't quite pull the trigger to get rid of him.

And Widmark is having his own problems, a neglected wife in Gloria Grahame and a fetching Lauren Bacall to tempt him.

But the best performance of the film comes from that grand old lady of the screen, Lillian Gish. She's the civilian record keeper of the place and a politician to the max. She plays off Widmark and Boyer, in fact The Cobweb would have been a better film had she been the central character. There's also a real good performance by Olive Carey as a Ratched like nurse, Ms. O'Brien.

John Kerr, Susan Strasberg, and Oscar Levant are all inmates of the place which is a rather posh establishment for the richer brand of neurotics. You can't imagine Widmark trying his experiments in freedom on the inhabitants of The Snake Pit.

The Cobweb is a film whose parts are greater than the whole effort. It could have been a whole lot better than it was given the talent involved.

There is an element of escapism in Minnelli's penchant for melodrama, and joy is the voice of the escaped psyche, but he hasn't quite released himself from his frustrations with reality, as they are all over his melodramas, disparaged by the atonal brasses from composer Leonard Rosenman. Like Minnelli's Hollywood melodrama The Bad and the Beautiful, his 1955 film The Cobweb depicts the indoor routine of a secluse, insulated group of people, and like the former, it focuses on professional careers atoning for emotional hang-ups, particularly isolated, disheartened home lives. In a sense, the film follows the quest for the perfect family. The film's effect relies on the acute lucidity with which the audience can relate to the characters. The Cobweb becomes a personal film for Minnelli in more manners than one.

The psychiatric environment embodies a disparaging enthrallment for Minnelli, after years of shepherding Judy through myriad institutions. The curious scenario, and some of the characters, strike a unity, playing to the inner pretentious aesthete in us all. The animosity between the clinic's patients and the bickering personnel detonates over a presumably frivolous decorative issue, the choice of new drapes for the lounge. Though for an epicure like Minnelli, the matter is invariably not frivolous but crucial. Furnishings express not only ornamental but more deep-seated conscientious matters as well.

Richard Widmark plays a clinical psychiatrist stuck between his household family of his wife Karen and their two children, and the makeshift family that he propagates in his clinic with self-motivated staff worker Lauren Bacall, and agitated teenage artisan John Kerr. Widmark and Bacall ask Kerr to create new drapes for the clinic's library as a healing activity, not knowing that Gloria Grahame, Widmark's frustrated wife, and a stately administrator at the clinic played with bureaucratic bustle by Lilian Gish, have already taken charge of doing it. This unfolding intrigue conveys considerable labyrinthine kindred, civil, and administrative warfare. Reproach flourishes in the forms of the artist as refugee, profession as rectification for private disenchantment, the grind between cultivating one's identity at the cost of solitude and the compulsion to follow and synthesize into a comprehensive society.

The clinic on screen doesn't parallel any specific or incidentally real institution. The group scenes play out like Minnelli's usual party scenes, a neurotic congregation of loose-lipped free-thinkers and recoiling self-observers, boldly highlighted by Charles Boyer's admirably self-effacing performance. He is an actor utterly sure of himself and needs no abstract means of support. And no matter how many times one has heard thoughts expressed by however many people, Lauren Bacall always makes them sound original. Thus The Cobweb is not impaired by a lack of realism but embellished by a uniquely expressionistic blend of tones.

The movie's household scenes are more horrific than those at the clinic. Many couples will identify strongly with the arguments between Grahame, who believes her husband is implying malicious affronts, and Widmark, who never says anything to his wife that means anything but exactly what he's saying. Widmark is not giving a wooden portrayal of a sensitive man but a sensitive portrayal of a man who is not bothered by much. Conversely, Grahame famously said, "It's not how I looked at a man; it was the thought behind it." I believe her, because she plays Widmark's wife as someone unhappy with who she is and what she has because her mind is scattered and she is not content with thinking.

It's a nugget of blackly hilarious, embroidered reality that indicates the immediate misanthropy about family life in the flush 1950s, and how many American marriages persist in self-insulated conditions to this day with similar results. Note this bit between a patient and his psychiatrist: "Your'e supposed to be making me fit for normal life. What's normal? Yours? If its a question of values, your values stink. Lousy, middle-class, well-fed smug existence. All you care about is a paycheck you didn't earn and a beautiful thing to go home to every night." Or the fleeting brush between Grahame and Kerr, in which they consider the connotations of flowers.

...this may account for the strange structure of the plot and the relative short appearance of Lauren Bacall.

Strange how this movie should begin with a conversation between a mentally sick young man (John Kerr) and one of the shrinks's wife (Gloria Grahame).And what do they talk about? Madness and Van Gogh."The cobweb" was a true forerunner of "lust for life" in which Minnelli would depict the great painter's life.And if the message is not clear enough,the main subject of the movie,the bone of contention is the library drapes which the psychiatric hospital patients -who will get better whereas the staff won't !-are (or are not) to decorate with their paintings.

John Kerr,although a supporting character ,is akin to many a Minnelli young hero:he does not know where he stands like the young man of "tea and sympathy" (another Kerr part with another Kerr (Deborah) as co-star)who searches for a -sexual-identity ,like Theron (George Hamilton) in "home from the hill" is ill-at-ease in a disturbed family,like Davie (Hamilton again) the young actor in search of a model in "two weeks in another town".And let's not forget that in " four horsemen of the Apocalypse", Karl Boehm 's character finds his way in Nazism!And John Kerr's character ,in "cobweb" is OUR victim,says shrink Widmark ,a victim of our meanness,our tensions,our quarrels .The hospital becomes a place where they are always at each other's throat ,a society in miniature,this society where Vincent Van Gogh (the young patient may be Minnelli's sketch)will live .(strange future)

Stephen Harvey claims that 30 minutes were edited out. During almost two hours ,the movie revolves around drapes -the last picture is sheer genius:it's maybe a young VVG sleeping under the ugly drapes.The movie actually belongs to the sixties and sometimes recalls the abstract plots of Antonioni."Two weeks in another town" would show that MInnelli had completely ingested the new Italian cinema.

Widmark's character is ,on the other hand ,one of the positive heroes of Minnelli.Like George Peppard in " Home from the hill" who reconstructs a family,like Kirk Douglas in "two weeks..." who comes to term with himself,like Glenn Ford in "four horseman..." who sacrifices his life to fight Nazism,like Sinatra in "some came running" who understands finally what true love means(McLaine's moving prostitute),he understands that all this hassle (be it domestic fight with his wife or the drapes) builds a cobweb where one of their patients gets caught.

If "cobweb" is somewhat disappointing,when compared to all the other works I mention,outside of the "producers's cut ", it's because the characters -who are numerous ,and played by veterans like Gish or newcomers like Strasberg ,fresh from her father's actor's studio - do not have room enough to shine.This hospital is not big enough for all of them.But you are going to tell me that if it was ,then there would not be any quarrel.And no plot.

I wish we could see "cobweb" as Minnelli wanted it to be someday.

Confounding melodrama taken from a William Gibson story, produced by John Houseman and directed by Vincente Minnelli (talk about a bizarre group of chefs!). Richard Widmark heads up posh, upscale rural nervous asylum, where his loose wife battles with self-appointed queen bee Lillian Gish, and Widmark himself gets the straying eye for staff-newcomer Lauren Bacall, who is putting her life back together after the death of her husband and child. Facetious and muddled, set in an indiscriminate time and place, and with a "David and Lisa" love story hidden in the plush morass. Widmark and Bacall do have some good chemistry together, but this script gives them nothing to build on. For precisely an hour, most of the dialogue concerns what to do about the drapes hanging in the library (this thread isn't used as symbolism, rather it's a red herring in a non-mystery!). The picture hopes to show the loggerheads that disparate people come to when they're working in the same profession and everyone thinks their opinion is right, but unfortunately the roundabout way Minnelli unravels this stew is neither informative, enlightening nor entertaining. ** from ****

I can only figure ace director Minelli got this movie on assignment. Because however much drama is inherent in the screenplay, it gets drained by an uncharacteristically flat visual style. There are no close-ups to emphasize emotion. Instead, the camera remains impersonal regardless what's happening with the characters. Plus the actors basically walk through their parts, excepting a fiery Gish and Grahame. Then too, the scenes simply follow one another without heightening the various dramatic impacts. The overall result is to disengage the viewer from what's on screen, creating what amounts to a limp drama.

As I recall, the movie got promoted on the basis of its marquee cast, including the classic Lillian Gish making her first appearance in a number of years. The large number of names, of course, required the script be extended so that each star would get an appropriate amount of screen time. This results in a number of subplots and an over-stretched 2-hour-plus runtime, way more than the slender who's-going-to decide-the-draperies premise can sustain.

However, unlike most reviewers, I don't object to the running issue of the curtains, ridiculous as it sometimes seems. After all, this is an institution for troubled people including the staff, so they may well obsess over something seemingly as minor as a decoration. Then too, who makes the decision serves as a catalyst for bringing out the various unresolved conflicts among the residents. I just wish the surrounding drama was better written, acted, and directed. Certainly, the talent was there to do just that. Instead we're left with a film that remains obscure for good reason.

Between the stilted family trauma given as back story and the spoiled brats in Richard Widmark's rat pack, it's no wonder that the shrinks sling drugs at these whiners today. Perhaps this form of psychotherapy (considered the top drawer treatment of the era) should be resurrected, maybe the 'family unit' scenario is called for in this world of today where innocence has been totally lost. Now that neurosis (at least) is accepted in our society, the problems of these people seem mildly absurd. Perhaps it's a farce and I was just too dense to get it. Interesting dynamic between the shrink and his wife: in 2014 she'd get lawyered up and take him for everything he's worth. Bacall is sultry and beautiful as always. It's amazing that she could do a movie like this, as Bogart, if he wasn't already deceased, had to be very very ill.

The patients and staff of a mental hospital undergo a number of melodramatic moments as they all come to grips with their rather pedestrian mental health issues. Being an MGM motion picture production, the institution is not some grimy state run place that serves low cost meals and whose halls reek of urine and carbolic. Instead, this place is more like a country club/resort with all the amenities, a modern turn on the tres chic sanitarium run by Claude Rains in Now Voyager.

Presiding over the institution is Charles Boyer as the director, but Richard Widmark has all the manic energy as the doctor trying new, less traditional methods on the residents. The most bizarre fact about this flick is that a large part of the plot hinges on which new drapes will be hung in the library - conventional ones or those based on the drawings of sensitive, shy but troubled patient John Kerr. There is lots of back and forth on this subject to the point of being unbelievable.

Amid all the kerfuffle on the drapery question, Boyer tries some of his long in the tooth continental charm on attempting to seduce Widmark's wife, the sizzling hot Gloria Grahame. Needless to say, Boyer strikes out embarrassingly. Meanwhile Widmark, who is getting tired of Gloria, starts to have feelings for the activities lady, played by Lauren Bacall. Oscar Levant does his usual droopy eyed slightly melancholic shtick as one of the residents. Now this is the same act that Oscar does while playing piano and attending Parisian cocktail parties in other films, but here, for some reason, the same behavior lands him in a mental hospital.

With all these pots boiling, the movie manages, against type, to finish up in a restrained manner, without anything exploding. A most unusual film for 50's MGM, or for MGM of any era previously.

The synopsis is readable elsewhere. Gave it a 6 as a compromise between ambition, incredible cast, major director, and yet ultimately unsatisfying. I get the intent and the archetypes, well planned. But somehow despite some the best actors ever (Boyer! Gloria Grahame as pretty as ever! Lillian Gish 30 years since silent movie stardom, giving a great performance. Fay Wray decades since she jilted King Kong. Lauren Bacall !) and wonderful director Minnelli, the premise feels a little silly. Sorry, I respect everyone involved but it felt like everyone did their skillful best to punch out of a package of melodrama drapes and could never really tear the fabric. Did I mention that I love Gloria Grahame? Watch it for the dresses and professionalism.

Richard Widmark. Gloria Grahame. Lauren Bacall. Sounds like a grade-A film noir or mystery. Not to mention Charles Boyer, Lillian Gish, Paul Stewart, Susan Strasberg and Oscar Levant. What could go wrong?

How about an overlong talkfest where nothing much happens at a 50's- Hollywood style mental hospital that's more like a resort hotel for middle-class white folks who each have some minor tic they keep repeating over and over? And the key issue of the plot is which of three contending parties will get to choose the new drapes. Also a couple of suggestions of adultery that never reach fruition.

The staff members as well all keep hitting the same note over and over in this tedious script. You begin to fell sorry for the cast, particularly poor Gloria Grahame as the clinic director's wife, required to keep throwing tantrums over nothing.

There is a touch of mystery to the film. Why did MGM feel obliged to drag this slight material out to over two hours and film it in color and Cinemascope?

Like a roadside accident, it's difficult to turn away from this bizarre melodrama. Seriously, what were they smoking? The whole movie is like a Saturday Night Live skit that never ends. How was it possible for these actors and actresses to go onto the set each day without cracking up about the absurdity of this story? I suppose it was a different culture back then, but how did they not break down in laughter acting these parts? Or maybe they did. Everything is so completely over the top, the high pitched emotional performances, the strange sets and paintings on the walls, the saturated color and dramatic lighting. It's almost like this movie is taking place in a weird little world far away from the edge of the universe. My greatest disappointment is that the issue of the drapes was never resolved. Really a huge bummer, and it's probably what kept this movie from becoming an enormous hit.

Dr. Stewart McIver (Richard Widmark) is newly in charge of a private psychiatric clinic taking over from Dr. Devanal (Charles Boyer). He is dedicated to his patients but his wife Karen (Gloria Grahame) is angry at coming in second in his life. It's the comings and goings of various people there. Stewart works closely with staff member Meg Rinehart (Lauren Bacall). Karen injects herself into the hospital business with new drapes angering old-timer Victoria Inch (Lillian Gish).

I sat up and noticed when Gloria Grahame threw her first hissy-fit. The movie needs more of that drama. Otherwise, this is more a TV hospital drama with interconnecting characters. The story has a scatter shot effect as it follows so many characters on so many levels. It's fun when the drama goes crazy. Lillian Gish is wonderfully petty. She's a bit of a standout. An unhinged Gloria Grahame is also pretty fun. On the other hand, Lauren Bacall is rather flat by comparison. She doesn't have much heat with Widmark. The problem with Stewart is that he should be clearer and more open. He's mostly getting frustrated at people not doing what he wants and that's fine. It seems the frustration can be lessen if he just sit down and discuss the issues calmly. His issue with his wife is another matter. I like her chaos which is the source of a lot of fun. I'm more ambivalent about Stewart. Widmark's acting has too much anger to be a good psychiatrist. All in all, some of this is fun. A lot of it is interesting. Most of this is melodramatic chaos.

"The Cobweb" is an example of many examples of movies that feature strong, sometimes noteworthy performances and high points, but unfortunately are shattered and slowed down drastically by a murky plot and very little to interest the audience. It stars Richard Widmark as a doctor working at a mental institution whose life becomes in turmoil due to family problems and a rather ludicrous and overworked conflict that really seems like no big deal at all.

The plot is preposterous. Its time for the institution to get new drapes for the library windows. One old woman wants to have her drapes put over them, but a lot of the patients want to make their own. And somehow, this ridiculous and unintentionally loony conflict breaks out into the point where lives are in danger and families start to fall apart. It sounds more like a conflict that would occur between very young children.

The questioning of the logic of the plot and whether it could really happen is so massive that one wonders if only a real-like lunatic could buy it. Don't get me wrong, there's nothing wrong with the acting. The cast following Widmark is composed of other great actors, many of them Academy Award-nominees and winners. And there is occasionally a moment in the film that works out brilliantly, but it always excludes the stupid plot about window drapes. Unfortunately, there is too much about the doggone drapes and thus, the movie slows down. A lot of the takes are long and done from one camera viewpoint, adhering to the slow pacing and lack of viewing interest.

In a short analysis, "The Cobweb" is an unrecognized film and it becomes obvious why to the viewers basically as soon as the plot comes into focus, which it does pretty quickly. It just really doesn't sound like much fun to watch and I tell you that it is not much fun to watch.

When this came up on TCM recently, I was driven to watch it out of sheer curiosity from the wildly disparate opinions expressed here. The most curious point was the oft-repeated opinion that the plot was about drapes. This is no more true than that Moby Dick is about a whale. The drapes are what Hitchcock referred to as the "mcguffin" (however you want to spell it) - a thing on which to hang the actual plot lines. In this case the varied interactions, neuroses and interpersonal problems of both staff and patients at a cutting edge mental institution are what the movie is about. I began watching out of curiosity but I was actually drawn into the movie by the character development and the interesting human dramas. The script is better than a lot of these comments would have you believe, and the cast is top notch - Boyer, Widmark, Gish, Bacall, etc., and of course Gloria Grahame, who is always a delight for the eye. Also worth mentioning is the wonderful colorful processing of those days, now sadly defunct, and the fascinatingly atonal score of Leonard Rosenman. The movie is well worth watching.