A Fine Madness
Tags: insanity

Plot synopsis:
Samson Shillitoe, a poet, lives in Greenwich Village with Rhoda, a waitress who stands by him through all his troubles.
When Samson cannot find the inspiration to finish his latest poem, he becomes belligerent and depressed. Samson is continually pursued by a debt collector after his late alimony payments to a previous wife; if Samson doesn't pay he will be arrested. Samson eventually assaults a police detective who accompanies the debt collector.
Samson has other troubles when he loses his job as an office cleaner when he has sex with a secretary (Sue Ane Langdon) whilst his carpet cleaning machinery fills the office with soap suds. However, Samson does earn a $200 fee for doing a recital of his poetry to a woman's group that ends in disaster.
On Samson's behalf, but unknown to him, Rhoda seeks the help of psychiatrist Dr. West (Patrick O'Neal), who claims to be able to cure writer's block.
Rhoda gives Dr. West the $200 she collected for Samson's lecture to treat Samson for what she fears will become suicidal depression if he can't finish his poem. Dr. West reluctantly agrees to see him, and when Samson confronts the Doctor about the return of his money, West is fascinated by Shillitoe and persuades him to become a patient. In order for Samson to be away from the chaos of his life in the city that he might finish his poem, Dr. West arranges a stay for him in a sanitarium upstate.
Another doctor at the sanitarium, Dr. Menken (Clive Revill) is also interested in Samson, but for the purpose of experimenting on him with a new surgical technique to quell his violent temper. He persuades Rhoda to agree to the surgery. Dr. West and two other colleagues vehemently oppose such a procedure, as it is too close to a lobotomy to be safe.
Dr. West's wife, Lydia (Jean Seberg), is frustrated with their marriage. He is a popular TV guest for his pop psychiatric methods and views, and she sees very little of him. Eventually she runs into Samson at the sanitorium. Samson does not know she is married to Dr West but recalls her when she walked out of his women's club lecture. In his usual manner Samson immediately seduces her and the two have sex in a therapeutic bath. Dr. West, looking for Samson, secretly sees them in the tub.
When it comes time for the clinic senior staff to vote on allowing the surgical technique to be performed on Samson, Dr. West, having seen Samson with his wife, changes his vote, enabling Dr. Menken to go ahead. Lydia finds out about the surgery and rushes to stop it, but arrives just after it has been completed.
When Samson awakes from the surgery, at first his voice is so low and quiet he cannot be understood. As Dr. Menken leans in to listen, Samson throws a punch that lands the doctor on the floor. The operation has had no effect, and Samson returns to New York.
Rhoda quickly learns of his arrival, and rushes to rejoin him. Samson has finally been served with his subpoena, so he must pay his ex-wife or go to jail. Rhoda prevents him from pummeling the civil servant, until Lydia appears and pays him the amount owed.
Lydia informs Samson she is leaving Dr. West and hints that she would like to be with her new lover, Samson. Rhoda protests, as Samson invites her to come live with them both. Lydia, disgusted by the idea, becomes hysterical and rushes out, presumably never to speak to Samson again. Rhoda pleads with Samson as he goes charging off down the street, before informing him that she is pregnant. He accidentally punches her and the movie ends with him fighting off an angry mob of indignant spectators.

Review: If ever there was an award given out for "Most Outrageously, Sexist-Minded Film Ever (of the 1960s, that is)", I think that A Fine Madness would, most definitely, be a sure-fire winner.And, with that said - If you are, indeed, a total feminist (or a feminist-hugger), I guarantee you that frequent key moments throughout this utterly absurd comedy will surely get your dander up like no other film from that era ever has.
(I'm not kidding about this, folks!) Of course, in order to get any sort of real entertainment value out of A Fine Madness's story one must keep it firmly in mind that here is a film that is a complete product of its time.
This is a man's world!" (so if you're a woman you better like it, or lump it).In my opinion - A Fine Madness was solely made to cash-in on Sean Connery's rugged animal magnetism and his equally virile screen-charisma (following his huge success playing James Bond in 1965's "Thunderball").So, just be warned - If you're prone to detest a lead character who just happens to be nothing but a boozing, womanizing, wife-beating, loudmouth with a hair-trigger temper, then, believe me, you're probably not likely to find this comedy to be much of a laughing matter, in the long run..
A Fine Madness marks Sean Connery's venture into screen comedy and while the man has had many funny moments in his film, comedy was not his strong suit.
Ironically he's cast opposite Joanne Woodward who as we know was married to someone who many critics also said was not at his best in comedy.Whatever else is wrong with A Fine Madness I have always loved Connery's character name, Samson Shillitoe.
One of the best screen names ever invented and so right for a would be poet.Samson for Connery is a peculiar combination of James Bond and Ralph Kramden with Joanne Woodward as his long suffering Alice.
He also has a process server in John Fiedler chasing him down for back alimony to a former wife.Woodward puts him in the hands of psychiatrist Patrick O'Neal who claims he can cure creative people of their hangups so they can do their thing.
Connery proves an interesting case however to O'Neal's colleagues, Colleen Dewhurst, Jon Lormer, Werner Peters, and especially Clive Revill who's developed a modified lobotomy that can really cure anti-social behavior.
You'll find few screen characters as anti-social as Samson Shillitoe.
He's also of interest to O'Neal's wife Jean Seberg who just plain ain't getting any lately.There are some funny moments in A Fine Madness, but ultimately I found it unsatisfying.
As a poet who is institutionalized, Sean Connery distances himself quite grandly from screen alter-ego James Bond.
Connery is unexpectedly gregarious as the avant-garde writer, Joanne Woodard is suitably shrill as his spouse, the supporting cast (including Jean Seberg and the wonderful Zohra Lampert) is terrific, but this is an extremely bumpy, frantic piece on challenging the system.
The script, from Elliot Baker's novel, is uneven, yet the film certainly looks good, with handsome photography and fine use of New York locations.
Often gets confused with "They Might Be Giants", another comedy which also co-starred Joanne Woodward and dealt with a certain madness.
In the midst of his "Bond" persona (two years after "Goldfinger") Connery gives a brilliant, anti-typical performance as Samson, a poet to whom art is everything, and the polite fictions and civilities of society nothing.
Connery's talent and charm save this very funny movie from the somewhat offensive obnoxiousness of its hero, and clinch its optimistic argument about the ultimate triumph of artistic greatness.
Okay, to borrow a few things from the previous commenter's observations, sure, this is an adaptation from a novel, and apparently the main character is an obnoxious lout who happens to be a genius.Here's where this film fails in just about every department.Not for a second do we buy that Sean Connery's Samson is a "genius" in any sense of the word.
Genius, he is not.Topping poor Connery in the shouting department is the screeching yowl of Joanne Woodward, whose hapless wife character of Samson, Rhoda, is given all the depth of a punching bag (literally).
She plays the stifled wife of a renowned psychiatrist, Patrick O'Neal, who for some reason, and quite illogically I can only add, winds up having sex with Connery in a whirlpool bath and then dumping him the next time she sees him.
There is no logic in having her character even in this film other than to flesh out the above-the-line star wattage on the marquee.Only Clive Revill, playing a hare-brained psycho-therapist in every sense of the word, cuts loose with the material and lends a Peter-Sellers-like diversion for a total of 3 minutes screen time.I cannot conceive of any audience, whether in the '60s or today, eliciting anything more than ho-hum chuckle and a wan smile over this pale comedy with absolutely no focus and one of cinema's most ill-conceived one-note main characters.My rating: 1 out of 5 stars..
"Let's make a movie about a hot-tempered madman genius poet living a Bohemian lifestyle in NYC, and who beats his wife, who falls into the clutches of effete careerist psychiatrists who believe he is a perfect candidate for a lobotomy." Sean Connery probably agreed to do this because at the time he would take any route necessary to prove he should not condemned to play only James Bond for the rest of his career.Why Joanne Woodward, who plays his punching bag of a wife, got on board is a mystery.
Probably it was a chance to play opposite hot property Connery.If anyone truly needed a lobotomy, it is Samson Shillitoe..
Sean Connery did make about half a dozen excellent non-James Bond Films.
Connery messing up a Lady's Club invitation to read his poetry is not as funny as it should have been, but is the funniest scene in the film.Unfortunately the film goes nowhere after that.
Why is that supposed to be funny?" The name of Connery's character is Samson Shillitoe.
I'm not sure if the character had anything to do with the man.I do think Sean Connery and Joanne Woodward deserve some credit for developing their characters as much as they do.
Everybody else, including Jean Seberg, Patrick O'Neil, Coleen Dewhurst and Zohra Lampert are wasted in non-roles that should have been played by less talented actors.Altogether, not an enjoyable film, but possibly worth a look as an example of a bad New York City mid-60's comedy.
Released in 1966 (a year after Thunderball), Connery obviously wanted a departure from the static James Bond debonair and so took on the volatile character - Samson Shillitoe (erratic poet).
Those looking to see "action hero" Sean Connery will probably be disappointed.
Sean Connery was a great choice to play a blocked, womanizing writer at the core of the drama and he centers the film with his amiable exuberance.
Comparisons to Cuckoo's Nest are inevitable, and this film lacks the other's stifling power and resonance, but it shares a common vision of the psychiatric profession acting as a microcosm of authoritarian abuses in society at large.
Still, this is a funny and charming, much lighter satire on the same subject, energetically directed by Irvin Kirschner, and enjoyable for Connery fans in any case..
"A Fine Madness" is a very strange movie.
It stars Sean Connery (with a very strange performance, one of his worst - somewhere between Bond and a plain ruffian; frankly, I don't think Connery is apt for any comedy at all) plus a lavish supporting cast consisting of renowned character actors - but, still, the film is horrible.It has an absolutely inane screenplay, and Irvin Kershner's (lack of) direction leaves a most confusing impression, even considering the somewhat strange Sixties style which was "en vogue" then.
Alright, this film is generally awful, admitedly...However, I always try to look at any motion picture in the context of it's day and in it's retrospective historical perspective.I like to look at movies as sociological studies, and the best ones transcend their time, becoming truly timeless."A Fine Madness" fairly stinks of clueless farce.
Hollywood was out of touch with the youth of the counter culture, and with some exceptions, like "Hard Days Night", "Alfie", "Medium Cool" and "Easy Rider", most 1960s movies that tried to look authentic and relevant to the times, failed.So, despite its badly written characters, it's hopelessly dated Psychiatric themes, its corrosively dated sexism and the apaulingly visionless, artless presentation, there ARE a few interesting elements.Clearly a big budget film, I was impressed by the progressive bravado that the director showed in manhandling New York City.
This is the sort of movie that makes me ponder the whole time I'm watching it, "Who SHOULD have been in these roles?"  Connery and Woodward really give it a good try, chewing big hunks out of the scenery, but they never convince, not for a moment.
The role of Samson Shillitoe, deranged poet, could have been handled well by Jason Robards or Walter Matthau, and his mysterious attraction for women would have been more believable with the former, and more humorous with the latter.For me, the only real laughs came from the one short scene featuring pudgy businessman Sorrell Booke learning the facts about his wife's hysteria.
"You'll ascertain MY virility????"I think they were trying for the kind of thing here where, like Alec Guiness's deranged artist character in "The Horse's Mouth," the obnoxious jerk has a mysteriously endearing charm or ability that shines through despite his appalling behaviour, but this poet isn't the horse's mouth.
A Fine Madness (1966)Plot In A Paragraph: Samson Shillitoe (Connery) a genius poet, who is irresistible to women but is plagued by writer's block.
If you find Connery using his wife (Joanne Woodward) as a punching bag funny, you may enjoy it, but I don't find anything to laugh about here!!
I will applaud Connery for trying something totally different in an attempt to move away from Bond, but I wish this wasn't the movie he chose to do so!!
It has a certain wild charm about it, but ultimately what really makes it worth a look is the performance of Sean Connery.Connery clearly desperate to escape the James Bond mould takes on the role of a non conformist borderline nutcase poet with the unlikely name of Samson Shilitoe.
Although this might sound like an impossible transition, Connery with his powerful presence and loads of charisma plunges into the role and turns in a riveting performance.There's also fine support from Joanne Woodward, Colleen Dewhurst and Clive Revill.
The only disappointment is Jean Seberg who seems wasted in an underwritten thankless part.For Connery fans this is essential viewing but others too may be surprised by this somewhat beguiling movie..
Samson Shillitoe (Sean Connery) is a frustrated poet and a ladies' man in NYC.
His live-in supportive waitress girlfriend Rhoda (Joanne Woodward) gets him a poetry reading gig at a high-class ladies group and it goes badly.
The movie has a couple of slapstick scenes that border on comedy.
It's a strange little film showing Connery in a different light..
While this may not be the worst film I have ever seen, it comes very close to being the worst comedy of all time.
It's a distillation of everything that was wrong with '60s comedies.Sean Connery plays a violent, philandering, selfish, hateful bully who imagines himself to be a brilliant poet.
When he suffers writer's block, his screeching, yammering nag of a wife (Joanne Woodward, at the nadir of her career) sends him to a pretentious psychiatrist for treatment.
After Connery ends up seducing the psychiatrist's sexy wife (Jean Seaberg, in a squandered, vapid role), he is condemned (spoiler alert) to have a lobotomy.
Along the way the audience is treated to "wacky" chase scenes, goofy camera angles, rinky-dink pianos and theremins in the soundtrack, and incessant shouted dialogue -- while every female role is an insulting caricature: the prissy old matron, the nymphomaniac secretary, the harpy of a wife, the bored socialite, and so on.
Connery's poet is supposed to be a lovable anti-hero, but he comes across as loathsome and contemptible, and by the end you'll want to give him a lobotomy yourself just to shut him up.What makes all this especially puzzling is that Connery was the top leading man in the world when "A Fine Madness" was made, riding high on the unparalleled success of his James Bond roles.
A terrible career blunder.Imagine taking the film "Charly" (aka "Flowers for Algernon," about a retarded man who is given brain surgery), the worst episode of the TV sex farce "Love American Style," and some outtakes from the Keystone Kops, and then editing them all together into a disastrous mash- up of conflicting styles and painfully unfunny humor -- voila, you have "A Fine Madness."The only redeeming features are the true-life location shots on the streets of mid-'60s Manhattan (which New-York-o-philes might enjoy), and a hilarious mini-documentary about Sean Connery made in 1966 to promote the movie, included on the DVD as a bonus.
Aside from that, though, "A Fine Madness" is a depressing fiasco of a film, not even worth watching in the "so bad it's unintentionally funny" category.
What were they thinking?If, by writing this review, I can save just one person from having to endure sitting through "A Fine Madness," then my life will have been worthwhile..
I never thought I'd see a movie in which Sean Connery, master of ironic understatement, could be accused of overacting.
But there's a scene here in which Connery has been paid two hundred dollars -- he's a blocked poet and down on his luck -- to read before some ladies' literary club.
(Except for Jean Seberg, who is not at all ugly.) The title comes from Michael Drayton, who in 1627, referring to playwright Christopher Marlowe, wrote: "For that fine madness still he did retain Which rightly should possess a poet's brain." But this movie has a lot less to do with poetry than with madness.
It's a little reminiscent of "Morgan: A Suitable Case For Treatment." But that film was both funny and tragic, whereas this is neither.I can't tell whether or not Connery was asked to speak with a working-class New York accent or not.
Joanne Woodward, as his wife, does a little better with her acting and her accent.
Sean Connery plays Samson Shillitoe, a divorcée who's remarried.
The only reason I could see Connery and Joanne Woodward (who plays Rhoda Shillitoe) doing this film is for their roles.
Deliciously off-beat characters interacting in some really standout scenes make "A Fine Madness" a really wonderfully must-see comedy.
The movie boasts a terrific cast led by Sean Connery in one of his best roles, Joanne Woodward and Jean Seberg.
Plot in a nutshell: An anti-social poet (Sean Connery) short on cash and suffering from writer's block is sent to a shrink by his wife (Joanne Woodward).
Polarizing mid-60s screwball comedy has some very funny bits here and there, but suffers from over-length and some very dated "to the moon, Alice!" style humor that will undoubtedly rub modern audiences the wrong way.
Connery gives his all in a go for broke performance that he probably hoped would help off-set his James Bond image (never mind that his self-destructive poet still fools around with women despite claiming he doesn't like them) but the character is so unlikable that some of the humor falls flat.
Other reviewers on here have said that comedy was not old Sean's strong point as a performer; I don't really agree with that (he was after all hilarious as the bumbling father of Indiana Jones in the Last Crusade) but feel it was really more that the character was a hard sell to begin with - and would have been for any actor.
It's a little sad watching the late Jean Seberg in this film, seeing her so young, so beautiful, so obviously a fine actress wasting what little time she was going to have in such an unsatisfying comedy as the desperate, sexually frustrated housewife of the primary doctor who finds an afternoon's delight with Connery - and is later hilariously horrified (admittedly one of the film's better moments) to find that he seriously expects her to just roommate with him and his unhappy wife when she expresses an interest in trying to be something more.Of interest mostly for fans of the stars and fans of the 60s..
When actors look back on their life's work, there will be film that they will wonder why they ever agreed to be part of it.I suspect that this might be the case with this film for two very fine and talented actors.
Sean Connery and Joanne Woodward.The central premise of a self centred, self obsessed, wife abusing poet called Samson being chased for various reasons by various people and creating havoc is a limp plot.
Joanne Woodward's shrill whine becomes annoying after ten minutes of listening to it, and the supporting actors all look slightly embarrassed, as if the director just said, "Go for it, we've got James Bond, so it should be a hit." Not even a slightly good film, not even slightly a bad film, just an appallingly terrible film..
In this "wacky" comedy, Joanne Woodward plays a role that today would be unplayable, probably unwritable even by a hack like Elliott Baker Cohen.
She is Rhoda, the long-suffering partner of mad poet Samson Shillitoe.
Shillitoe never really exists, he's just Life Force write large, and Sean Connery blunders through the part just adequately.
Cute music, New York street scenes, lots of pace, some really good actors, an audacious plot, probably ahead of its time, some delightful vignettes, so what went wrong?
The film could not exist without Samson Shillitoe, no other set of characteristics would bring all those disparate plot and character elements together.
You might say that Shillitoe is the creator of the story, indeed, of the little world that the film inhabits.