Showing 331 - 340 of 378 annotations tagged with the keyword "Mental Illness"
With regret, Veta Simmons (Josephine Hull) decides to have her affable brother Elwood P. Dowd (James Stewart) committed to an asylum. His drinking and his unshakeable delusion of Harvey, a six-foot rabbit who is his constant companion, are interfering with her plans to find her daughter a suitable mate.
The young doctor is a psychiatric zealot, and when Veta claims that she is so fed up that she can sometimes "see that rabbit," he cleverly commits her instead. The error is discovered and rectified, but the gentle manners of Dowd (and his rabbit) eventually convince the young doctor, his nurse, their boss, and even Veta herself that he does not deserve to be locked up. They release him at the very moment he is about to receive a new chemical treatment guaranteed to rid him of the delusion. Dowd happily sets out to share the rest of his life with Harvey.
It is London, June 13th, 1923, and Clarissa Dalloway, in her late middle age and recovering from some kind of heart ailment, is about to hold a party. As she prepares for her party, Clarissa remembers--in flashbacks--the time when she chose to marry the wealthy politician Richard Dalloway over her more adventurous relationships with Peter Walsh and her possibly-lesbian friend Sally Seton.
Clarissa does not seem unhappy, just intensely aware that in choosing one kind of life for herself she has had to relinquish the chance of others. It seems that she has planned the party as a way to affirm the choice she did make, but it turns out to do more, to suggest that the other possibilities were not lost after all.
Another character's experience of June 13th, 1923 is also told: Septimus Smith, suffering from what we'd now call post-traumatic stress syndrome as a result of his experience in the trenches of World War I, is about to be hospitalized by his physician, Sir William Bradshaw, a specialist in "shellshock." To avoid this, he commits suicide by jumping from a window. The two plots come together when Sir William, a guest at Mrs. Dalloway's party, describes Septimus's death.
For Clarissa, his story disrupts the careful balance of her perfect evening. She goes up to her own window and for a moment, it seems, contemplates suicide too. But she returns downstairs to dance with her husband. Sally cuts in, leaving Clarissa free to talk, at last, with Peter. The unspoken threat of Clarissa's illness, as well as our knowledge of Virginia Woolf's own suicide, remind us of her fragility, yet the film leave us with the exhilarating sense of encountering a woman who is complete.
The Changes is set in the deep South during the depression. A fifteen year old girl, whose main ambition is to finish school and go to college, witnesses her mother’s intentional starvation. The family attributes their mother’s irrational behavior to menopause, believing that all women going through "the change" become crazy.
The young daughter not only fears that her mother’s insanity is hereditary, but also that it may be partly her fault. The reader suspects that the mother may have intended to die in order that her daughter could afford to go school. The family seems to feel that the daughter’s presence in the household somehow drove her mother to insanity.
This is the story of a family struggling to deal with the accidental death of a teenage son. Calvin Jarrett (Donald Sutherland) and his wife Beth (Mary Tyler Moore) and their surviving teenage son Conrad (Timothy Hutton) live in a wealthy Chicago suburb. Some months before the time of the film, Conrad's older brother Buck drowned when the small boat he and Conrad were sailing capsized in a windstorm.
In the present we see Beth as cold, withdrawn from Conrad (Buck had been her favorite) and at times actively hostile to him and to her husband, too. Conrad, recently back home from three months in the hospital (including electro-convulsive shock therapy) after slitting his wrists, is between uneasy and agonized in his high-school and family world. Calvin remains emotionally open but is befuddled and often caught between his wife and his son, talking about things that don't matter.
Within that setting, the film tells the story of Conrad's attempts to deal with the guilt he feels after his brother's death. A series of psychotherapy sessions with Dr. Berger (Judd Hirsch) plays a crucial role. Seeing Dr. Berger also helps Cal understand some things, and when in a midnight confrontation he tells Beth of his sorrow that she has substantially changed for the worse, she proudly packs her bags and leaves. The film ends early the next morning, with Conrad and his father in an emotional embrace on the front steps of their home.
Medea killed her brother and left her father in order to follow Jason and his captured Golden Fleece to Corinth. They marry and have two sons. As the play opens, Medea is distraught with jealousy because Jason has repudiated her to marry the daughter of Creon, King of Corinth. He insists that his new status will be for her own good and that of her children.
Medea and her sons are to be banished, but she begs a day's reprieve. She contrives to poison the princess bride with gifts that catch fire, consuming her and her father too when he tries to save her. In her madness, Medea "reasons" that she must kill her beloved children in order to avenge herself upon her husband.
The boys' cries can be heard from off stage as she slays them with a sword. The grieving Jason wishes that he had never begotten his sons, just as Medea wishes that she had never followed him out of her home.
A strange Irish girl is "away" ever since she lay beside a drowned man. A teacher marries her, providing stability if not sanity, but the 1840s famines begin and the couple flee Ireland with their child Liam. They establish a homestead in a remote part of Ontario where a baby girl, Eileen, is born.
Not long after, the mother disappears and is not seen again for years until she is brought home dead. The son learns that she had been living by a lake immersed in her fantasies of the long dead lover. Eventually, Liam is left to care for his sister alone; they travel to a small port town where he realizes that Eileen has become an attractive young woman with desires of her own. She too goes "away" following a lover, but returns to Liam and his wife to live out her long and lonely life.
This first published work of fiction by Gertrude Stein includes two stories, "The Good Anna" (71 pp.) and "The Gentle Lena" (40 pp.); and a novella, "Melanctha" (151 pp.) Each one is a psychological portrait of the named protagonist. All three are members of the lower socioeconomic stratum of the fictional town of Bridgepoint.
"The Good Anna" tells the story of a German immigrant who kept house for Miss Mathilda. Anna was honest, steadfast, and loyal as the day is long, but she was also stern and difficult to deal with. Anna's special friend was Mrs. Lehntman, the romance of her life. After Miss Mathilda moved to a far country, Anna took in boarders for a living, didn't make much money, and after a while died. "The Gentle Lena" is the story of another German servant girl who married unhappily and died shortly after the birth of her fourth child.
"Melanctha" is an extended portrait of Melanctha Herbert, a mulatto woman, and her unhappy love affair with Dr. Jeff Campbell, the doctor who took care of Melanctha's mother during her final illness. Much of the novella consists of protracted conversations between Melanctha and Jeff and extensive descriptions of their respective mental states.
Eventually the two lovers drifted apart. Melanctha took up with Jem Richards, "who always had to know what it was to have true wisdom." But that relationship didn't work out either. Melanctha became depressed and considered suicide. After she recovered from depression, she developed consumption and died.
Stella is the wife of Max Raphael, the deputy superintendent of a maximum security psychiatric hospital near London (based perhaps on Broadmoor, where the author's father was medical superintendent), and mother of a ten-year-old son. She becomes involved in an obsessive sexual affair with one of the institution's patients, Edgar Stark, a schizophrenic sculptor institutionalized after murdering and decapitating his wife.
Stark uses his affair with Stella to escape, and she runs away to London to join him. After a few passionate but squalid weeks in hiding, Edgar's illness resurfaces, evinced both in the violence he shows to a sculpture he's making of Stella's head, and in his paranoid jealousy. She runs away from him and is captured by the police and returned her to her husband, who has been fired because of his wife's role in the escape of so dangerous an inmate.
The family moves to a remote hospital in North Wales, where Max has a minor position, and Stella becomes severely depressed, to the extent that she stands by helplessly as her son dies in an accidental drowning. As a result, she is institutionalized--she returns to the hospital, not as the superintendent's wife, but as a patient. Edgar has meanwhile been recaptured (in North Wales, seeking out Stella either to take her with him or to kill her), but they never meet again, for Stella commits suicide.
In 1877, Richard Maurice Bucke (1837-1902) (Colm Feore) becomes the superintendent of the asylum in London Ontario, where physical restraints are used. His lovely but tense wife (Wendel Meldrum) is grudgingly deferential to his professional needs. They are parents of a happy little girl. Bucke travels to a Philadelphia conference to read a paper on his liberal ideas about care of the mentally ill, but he senses the intolerance of the audience and storms out.
An odd "free thinker" in the audience--who turns out to be the great American poet Walt Whitman (Rip Torn)--admired the paper. Whitman invites the doctor to meet his mentally disturbed brother kept at home rather than in an asylum. Smitten with Whitman and his philosophy, Bucke brings him to Canada.
At first, his wife and the town are suspicious of the famous stranger, but they gradually change their minds. The asylum replaces its coercive methods of care with exercise, music, and talk. The film closes with a lively summer cricket match between the asylum (patients and workers) and the town.
Summary:In a dark, stone enclosure numerous figures of indeterminate age and gender huddle in shadow while others crawl or writhe toward the murky foreground light. The visual center of the painting is the fierce struggle of two naked men whose grappling is made more agitated by the flailing whip of a dark, fully-clothed figure. Opening above the pen-like enclosure and the tormented figures is broad, white space, glowing with intense light--a shocking contrast to the darkness of this 18th century "snake pit." (See film annotation of The Snake Pit.)