While this may not be the worst film I have ever seen, it comes very close to being the worst comedy of all time. And it may be the most sexist film ever to be produced in the United States. Wife-beating is portrayed as humorous, cheating on your spouse is depicted as admirable, and yelling at, humiliating and degrading women is de rigueur throughout the movie. 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. Yes, folks, this is a lobotomy comedy. It's about as funny as it sounds. 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. Why in heaven's name did he choose this embarrassingly amateurish script when he had the entire film industry at his feet? 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. And to top it all off, the ending makes absolutely no sense, and serves to render the entire film pointless, even when accepted at face value. 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.
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. Yes, folks, this is a lobotomy comedy. It's about as funny as it sounds. 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. Why in heaven's name did he choose this embarrassingly amateurish script when he had the entire film industry at his feet? 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. And to top it all off, the ending makes absolutely no sense, and serves to render the entire film pointless, even when accepted at face value. 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.