It's not difficult to be alternately touched and depressed over this social drama that is arguably the most important film that Judy Garland ever made. As a mother of three (two of them within the age range of children here), she thrived on the love and support from them in the most difficult of times. Over a decade before this film was made, part of her cure was the unconditional love she received from similarly diagnosed children as there are here, particularly one who became highly emotional as she prepared to leave. This is a fictional walk back to her past as her character joins the staff of a special children's school, and instantly becomes involved in the life of the sweet natured Bruce Ritchey who takes a shine to her just by looking into her eyes.
As the head of the school, Burt Lancaster is initially reluctant to hire the untrained Garland, but thanks to his assistant (Elizabeth Wilson) agrees to give her a shot. His unorthodox methods shock her, and her almost obsessive love for these children, especially Ritchey. An awkwardly narrated flashback (featuring Gena Rowlands and Steven Hill as his parents) explains the circumstances surrounding his condition. Lancaster goes from being cold and demanding one moment to understanding in others. He's definitely a complex and conflicted man, unsure of the troubled soul that makes Garland latch onto Ritchey, creating for some tense moments and incredible acting from both. The direction of rising independent director John Cassavetes gives this a unique feeling, practically perfect in every way. It's ironic that he was disappointed in the editing of the film, because other than one or two sequences, it flows perfectly naturally. Wife Rowlands gets an amazing sequence with Garland where she reveals her true feelings concerning her son, something I'm sure many parents in this position can relate to.
Don't expect a light hearted moment from Judy to lead into song, even though she does briefly sing one song acapella, altering her voice not to sound like a professional, as well as participate in a chorus with the amazing children she's surrounded by. She's a vast quotient of issues, and delivers a most subtle performance, while Lancaster is as passionate here even in his own conflicts as he was in "Elmer Gantry". This is a difficult film to be inspired to even attempt to watch, because the subject matter is even more potent today. These children, often looked on as freaks, have been re-diagnosed with different names and different forms of treatment. The film presents them as gifted in the way of looking at adults in a way others cannot, perhaps revealing truths those being observed do not want revealed. The opening shot of an almost teary eyed Garland lets you know that she is not heading to Oz, to Carvel, to put a show on in a barn, or to ride the trolley to the fair.
An extended Thanksgiving play towards the end, as well as a visit to the adult wing of the institution, is frightening. The pageant sequence goes on perhaps a bit too long, but I can see why it was not cut down. Judy really pulls out all the stops in delivering a performance, and at times, it seems as if she's not even acting, but has emerged into the soul of a completely different person. Lancaster may seem overly stern and even unlikable at times, but in the end, you really begin to see his point of view, even if like Garland, you question some of his methods. They seem very natural together. Look for Billy Mumy briefly as one of the kids in Garland's introduction to the crowd and veteran character actress Barbara Pepper as one of the teachers. In a sense, this film was way ahead of its time, a total flop, yet producer Stanley Kramer and director Cassavettes have left behind something truly remarkable.
As the head of the school, Burt Lancaster is initially reluctant to hire the untrained Garland, but thanks to his assistant (Elizabeth Wilson) agrees to give her a shot. His unorthodox methods shock her, and her almost obsessive love for these children, especially Ritchey. An awkwardly narrated flashback (featuring Gena Rowlands and Steven Hill as his parents) explains the circumstances surrounding his condition. Lancaster goes from being cold and demanding one moment to understanding in others. He's definitely a complex and conflicted man, unsure of the troubled soul that makes Garland latch onto Ritchey, creating for some tense moments and incredible acting from both. The direction of rising independent director John Cassavetes gives this a unique feeling, practically perfect in every way. It's ironic that he was disappointed in the editing of the film, because other than one or two sequences, it flows perfectly naturally. Wife Rowlands gets an amazing sequence with Garland where she reveals her true feelings concerning her son, something I'm sure many parents in this position can relate to.
Don't expect a light hearted moment from Judy to lead into song, even though she does briefly sing one song acapella, altering her voice not to sound like a professional, as well as participate in a chorus with the amazing children she's surrounded by. She's a vast quotient of issues, and delivers a most subtle performance, while Lancaster is as passionate here even in his own conflicts as he was in "Elmer Gantry". This is a difficult film to be inspired to even attempt to watch, because the subject matter is even more potent today. These children, often looked on as freaks, have been re-diagnosed with different names and different forms of treatment. The film presents them as gifted in the way of looking at adults in a way others cannot, perhaps revealing truths those being observed do not want revealed. The opening shot of an almost teary eyed Garland lets you know that she is not heading to Oz, to Carvel, to put a show on in a barn, or to ride the trolley to the fair.
An extended Thanksgiving play towards the end, as well as a visit to the adult wing of the institution, is frightening. The pageant sequence goes on perhaps a bit too long, but I can see why it was not cut down. Judy really pulls out all the stops in delivering a performance, and at times, it seems as if she's not even acting, but has emerged into the soul of a completely different person. Lancaster may seem overly stern and even unlikable at times, but in the end, you really begin to see his point of view, even if like Garland, you question some of his methods. They seem very natural together. Look for Billy Mumy briefly as one of the kids in Garland's introduction to the crowd and veteran character actress Barbara Pepper as one of the teachers. In a sense, this film was way ahead of its time, a total flop, yet producer Stanley Kramer and director Cassavettes have left behind something truly remarkable.