Brorrowing from the docufilm; The Celluloid Closet (1995) permits the viewer to focus on Possessed (1947) from a perspective which is the main point of the film. To explain further, The Celluloid Closet (1995) points out that the Hays Code (1930 - 1968) endeavoured to regulate morality. As such the Hays Code's purpose as a guide, leads the viewer's interpretation of the film. This has culminated in a narrow, one dimensional way of looking at film as in the case of Possessed.
Accordingly, this has culminated in many consumers of this film to focus on the chief character Louise Howell (Joan Crawford). This has distracted the viewer from the bigger picture which is that of the ignorance pertaining to mental illness at that time. The ignorance is apparent when Howell's husband Dean Graham (Raymond Massey), ex-lover David Sutton (Van Heflin) and step daughter, Carol Graham (Gereldine Brooks) are oblivious to Cowell's breakdown which is in fact symptomatic of schizophrenia.
Pointedly, when making his diagnoses Cowell's physician's approach to the condition is indirect. It is by skirting around the subject, Howell's physician deviates from having to use the word 'schizophrenia'. This prompts a reaction by Howell and as such she doesn't suffer fools by telling the doctor that she knows that he is diagnosing schizophrenia. She then went on to describe herself as 'crazy'. This negative stereotype of mental illnesses such as schizophrenia is not only a cause of ignorance, but moreover fuel's ignorance.
Indeed the film's subtext is to convey a message to the Hay's Code and how it's prohibition on certain subject matters fuels ignorance. Such ignorance climax is tragedy as Possessed shows.
An excellent marketing commodity, Crawford's VIP celebrity status permits a focus on her calibre as a star and actor. By focusing on Crawford too much the viewer overlooks the bigger picture of Possessed. Moreover the film becomes more of a tool to buttress Crawford's acting status which, as has been well documented, was vital to her vocation just prior to her Oscar win for Mildred Pierce (1945) when apparently her career as an Hollywood actor at MGM was on the slide.
Warner Brothers who produced Mildred Pirce and Possessed utilised the Crawford MGM had forged, (for example see her in MGM's Grand Hotel 1932) which was the archetypal film star and turned her into a bona fide credible actor , which were acknowledged by her Oscar win and subsequent nomination for each film respectively. From here on in Crawford's film career took on a new direction.
While the supporting cast in Possessed is credible their acting did not convey the depth of ignorance to mental illness as convincing as could have been. As to Crawford's acting she being a histrionic actor placed this film's genre as a hybrid of soapy nior. An example can be viewed in one scene when Howell pushes (albeit accidentally) step daughter Carol Graham down the stairs which turns out to be a hallucination, which is a prominent symptom of schizophrenia.
Where the cast lack in their endeavours to highlight the ignorance pertaining to mental illness the director Curis Burnhadt makes up for this by utilising audio affects. This method serves as a tool to maximise and covey Howell's hallucinatory state.
In sum this film is a recommended portrayal of the ignorance pertaining to mental illness. This is conveyed as a message to the Hay's Code enforcers that they were responsible for fuelling such ignorance. For that endeavour Kudos goes to director Curtis Burnhartd.
Accordingly, this has culminated in many consumers of this film to focus on the chief character Louise Howell (Joan Crawford). This has distracted the viewer from the bigger picture which is that of the ignorance pertaining to mental illness at that time. The ignorance is apparent when Howell's husband Dean Graham (Raymond Massey), ex-lover David Sutton (Van Heflin) and step daughter, Carol Graham (Gereldine Brooks) are oblivious to Cowell's breakdown which is in fact symptomatic of schizophrenia.
Pointedly, when making his diagnoses Cowell's physician's approach to the condition is indirect. It is by skirting around the subject, Howell's physician deviates from having to use the word 'schizophrenia'. This prompts a reaction by Howell and as such she doesn't suffer fools by telling the doctor that she knows that he is diagnosing schizophrenia. She then went on to describe herself as 'crazy'. This negative stereotype of mental illnesses such as schizophrenia is not only a cause of ignorance, but moreover fuel's ignorance.
Indeed the film's subtext is to convey a message to the Hay's Code and how it's prohibition on certain subject matters fuels ignorance. Such ignorance climax is tragedy as Possessed shows.
An excellent marketing commodity, Crawford's VIP celebrity status permits a focus on her calibre as a star and actor. By focusing on Crawford too much the viewer overlooks the bigger picture of Possessed. Moreover the film becomes more of a tool to buttress Crawford's acting status which, as has been well documented, was vital to her vocation just prior to her Oscar win for Mildred Pierce (1945) when apparently her career as an Hollywood actor at MGM was on the slide.
Warner Brothers who produced Mildred Pirce and Possessed utilised the Crawford MGM had forged, (for example see her in MGM's Grand Hotel 1932) which was the archetypal film star and turned her into a bona fide credible actor , which were acknowledged by her Oscar win and subsequent nomination for each film respectively. From here on in Crawford's film career took on a new direction.
While the supporting cast in Possessed is credible their acting did not convey the depth of ignorance to mental illness as convincing as could have been. As to Crawford's acting she being a histrionic actor placed this film's genre as a hybrid of soapy nior. An example can be viewed in one scene when Howell pushes (albeit accidentally) step daughter Carol Graham down the stairs which turns out to be a hallucination, which is a prominent symptom of schizophrenia.
Where the cast lack in their endeavours to highlight the ignorance pertaining to mental illness the director Curis Burnhadt makes up for this by utilising audio affects. This method serves as a tool to maximise and covey Howell's hallucinatory state.
In sum this film is a recommended portrayal of the ignorance pertaining to mental illness. This is conveyed as a message to the Hay's Code enforcers that they were responsible for fuelling such ignorance. For that endeavour Kudos goes to director Curtis Burnhartd.