ginatomotoole All-star cast cannot decide on window treatments. Angst ensues. Movie about the pitfalls of overthinking your interior-decorating. Perfect movie for the absurdist-sacastic. Do not play a drinking game with the word "draperies" as your shot-trigger - because, alcohol poisoning.

vincentlynch-moonoi I'm not going to be as harsh on this film as some of our reviewers have been, because I think there's just one HUGE problem with it -- the casting of Gloria Grahame as the wife of psychiatrist Richard Widmark. It is the worst acting job I have ever seen in a film. So bad that not only should she have been given a Raspberry Award (had they been around in 1995), but she probably deserved the death penalty. Yes, her performance is that bad.On the other hand, in recent years I have come to respect Richard Widmark's acting more and more, and I thought he was excellent here. Lauren Bacall was good, as well, although she would have been much better for Grahame's role. Charles Boyer...well, the years were not kind to him in terms of acting; he is "satisfactory" here. Lillian Gish (who still had an active film career in the 1950s) has a humdinger of a rule here...perhaps a tad overdone, but nevertheless entertaining. Who cast the mentally ill Oscar Levant as a man suffering from mental illness; interesting that he accepted the role; it was once said of Levant: "There isn't anything the matter with Levant that a few miracles wouldn't cure". Tommy Rettig (the son in the "Lassie" television series plays Widmark's son here; a small role. I didn't realize it at the time, but the small role of Boyer's wife was played by Fay Wray ("King Kong"). Of particular note is the acting of John Kerr, who I thought was a very good young actor back in the day; he later left acting and went into law; here he effectively plays one of the patients.Key to the discussion of this film is the hanging of the drapes. Some people think it's ridiculous. I think not. Having worked in normal public schools my whole life, I've seen "normal" people go bananas over some mundane thing. What it amounts to is fighting over perceived "territory". So that such an issue would disturb the disturbed...I think is rather logical.So down to the nitty gritty: A highly flawed film due to the atrocious castings of Gloria Grahame, but otherwise a fairly decent film.

jhkp You can see what attracted Minnelli to this story, as it's partly about a conflict over decor. Maybe this worked in the novel, but it's hardly the stuff of compelling screen drama. Of course the choice of drapes is symbolic of independence to the patients, and symbolic of her power to Miss Inch, and it's actually a realistically mundane conflict such as might actually occur anywhere. It just seems to be much ado about nothing when it's acted out.Minnelli uses a bit of the soundtrack of Seven Brides For Seven Brothers, here (the picture that trumped his own Brigadoon at the box office) - in a scene at the movies. Guess he had no hard feelings.One of Minnelli's interesting misfires. Even though it doesn't really work, I've seen it three or four times.The acting is good, overall. Richard Widmark (as the director of the clinic) has two leading ladies, Lauren Bacall and Gloria Grahame. This is one of the few times I've ever really seen Grahame miscast. She had a wide range, after all she played everything from Violet Bick in It's A Wonderful Life, to Rosemary Bartlow in The Bad And The Beautiful, to Ado Annie in Oklahoma. But I think you will agree her role defeats her best efforts here. She starts out very well but I'm not sure I always understood where she was coming from as the film wore on. Bacall plays a simple, sensible girl, and does a good job. Lillian Gish plays the unpredictable Miss Inch, Charles Boyer the self-destructing Dr. Devanal, John Kerr the young and artistic Stevie (a role originally announced for James Dean). Oscar Levant is called upon to go outside his usual comfort zone and I'm not sure he makes it. Susan Strasburg is excellent in a small role.

jzappa There is an element of escapism in Minnelli's penchant for melodrama, and joy is the voice of the escaped psyche, but he hasn't quite released himself from his frustrations with reality, as they are all over his melodramas, disparaged by the atonal brasses from composer Leonard Rosenman. Like Minnelli's Hollywood melodrama The Bad and the Beautiful, his 1955 film The Cobweb depicts the indoor routine of a secluse, insulated group of people, and like the former, it focuses on professional careers atoning for emotional hang-ups, particularly isolated, disheartened home lives. In a sense, the film follows the quest for the perfect family. The film's effect relies on the acute lucidity with which the audience can relate to the characters. The Cobweb becomes a personal film for Minnelli in more manners than one.The psychiatric environment embodies a disparaging enthrallment for Minnelli, after years of shepherding Judy through myriad institutions. The curious scenario, and some of the characters, strike a unity, playing to the inner pretentious aesthete in us all. The animosity between the clinic's patients and the bickering personnel detonates over a presumably frivolous decorative issue, the choice of new drapes for the lounge. Though for an epicure like Minnelli, the matter is invariably not frivolous but crucial. Furnishings express not only ornamental but more deep-seated conscientious matters as well.Richard Widmark plays a clinical psychiatrist stuck between his household family of his wife Karen and their two children, and the makeshift family that he propagates in his clinic with self-motivated staff worker Lauren Bacall, and agitated teenage artisan John Kerr. Widmark and Bacall ask Kerr to create new drapes for the clinic's library as a healing activity, not knowing that Gloria Grahame, Widmark's frustrated wife, and a stately administrator at the clinic played with bureaucratic bustle by Lilian Gish, have already taken charge of doing it. This unfolding intrigue conveys considerable labyrinthine kindred, civil, and administrative warfare. Reproach flourishes in the forms of the artist as refugee, profession as rectification for private disenchantment, the grind between cultivating one's identity at the cost of solitude and the compulsion to follow and synthesize into a comprehensive society.The clinic on screen doesn't parallel any specific or incidentally real institution. The group scenes play out like Minnelli's usual party scenes, a neurotic congregation of loose-lipped free-thinkers and recoiling self-observers, boldly highlighted by Charles Boyer's admirably self-effacing performance. He is an actor utterly sure of himself and needs no abstract means of support. And no matter how many times one has heard thoughts expressed by however many people, Lauren Bacall always makes them sound original. Thus The Cobweb is not impaired by a lack of realism but embellished by a uniquely expressionistic blend of tones.The movie's household scenes are more horrific than those at the clinic. Many couples will identify strongly with the arguments between Grahame, who believes her husband is implying malicious affronts, and Widmark, who never says anything to his wife that means anything but exactly what he's saying. Widmark is not giving a wooden portrayal of a sensitive man but a sensitive portrayal of a man who is not bothered by much. Conversely, Grahame famously said, "It's not how I looked at a man; it was the thought behind it." I believe her, because she plays Widmark's wife as someone unhappy with who she is and what she has because her mind is scattered and she is not content with thinking.It's a nugget of blackly hilarious, embroidered reality that indicates the immediate misanthropy about family life in the flush 1950s, and how many American marriages persist in self-insulated conditions to this day with similar results. Note this bit between a patient and his psychiatrist: "Your'e supposed to be making me fit for normal life. What's normal? Yours? If its a question of values, your values stink. Lousy, middle-class, well-fed smug existence. All you care about is a paycheck you didn't earn and a beautiful thing to go home to every night." Or the fleeting brush between Grahame and Kerr, in which they consider the connotations of flowers.