I remember seeing "Bedlam" on television in the late 1950s. One scene in particular stayed with me – a man walking down a dark corridor in the asylum with inmates hands reaching out for him from their cells – the stuff that nightmares are made of.
Has "Bedlam" travelled well over the years? That depends on your expectations. In the intervening 67 years since it was made, we have seen all kinds of horror movies. After 1968, when the ratings system was introduced, much of the last four decades were with the gloves off – just about anything could be shown. As a horror movie, "Bedlam" can't compete with all that, but it is a film full of ideas, features a subject almost unique to cinema, and still manages to deliver a chill or two.
The film is set in London in 1761. Nell Bowen, played by Anna Lee, is a woman associated with Lord Mortimer, an administrator of St Mary of Bethlehem Hospital, more commonly known as Bedlam.
Nell becomes upset when Mortimer allows Boris Karloff's character, Master George Simms, the Apothecary General of Bedlam, to use the inmates of the asylum as amusements for paying customers. Nell has a conscience and befriends a Quaker stonemason named Hannay played by Richard Fraser. Together they attempt to better conditions for the inmates. However Nell insults Lord Mortimer in the process; she finds herself certified as insane and committed to Bedlam. Hannay attempts to save her.
Many of the leads in Val Lewton films have been described as expressionless, a nicer way of saying wooden. It was often the supporting players in Lewton's films who received the juiciest parts and gave the most animated performances. However, in "Bedlam", Anna Lee gives a spirited and engaging performance – possibly the best in any Lewton film. I say this because of the shades of light and dark the performance called for. By contrast, many Lewton heroines seemed to be in a state of clinical depression from the beginning to the end of their roles – often with good reason. Boris Karloff as Simms is also particularly good, projecting malevolence in an understated performance. Only Richard Fraser as Hannay is more true to form.
Lewton's team uncovered an obscure piece of history to create this story, complete with authentic sounding dialogue – no hint of modern vernacular creeps in to jar the ear. "Bedlam" also has scenes crammed with detail, capturing the feeling of "The Rake's Progress", the Hogarth paintings that inspired Lewton to make the movie.
Once the film enters the asylum, it gains considerable edge. There is great contrast between life on the inside with tattered inmates barely visible in the shadows of the cavernous asylum, and life on the outside with ornately dressed people inhabiting brightly lit rooms. Nell encounters the different layers of society within the asylum – based not surprisingly on mental competence. At first she is afraid, but then she does her best to ease the suffering of the inmates. Eventually this saves her from the excesses of Simms when the inmates rise up to protect her.
Even after 67 years, "Bedlam" still offers something different a little known slice of history, a good story, compelling performances, and that corridor of reaching hands.
Has "Bedlam" travelled well over the years? That depends on your expectations. In the intervening 67 years since it was made, we have seen all kinds of horror movies. After 1968, when the ratings system was introduced, much of the last four decades were with the gloves off – just about anything could be shown. As a horror movie, "Bedlam" can't compete with all that, but it is a film full of ideas, features a subject almost unique to cinema, and still manages to deliver a chill or two.
The film is set in London in 1761. Nell Bowen, played by Anna Lee, is a woman associated with Lord Mortimer, an administrator of St Mary of Bethlehem Hospital, more commonly known as Bedlam.
Nell becomes upset when Mortimer allows Boris Karloff's character, Master George Simms, the Apothecary General of Bedlam, to use the inmates of the asylum as amusements for paying customers. Nell has a conscience and befriends a Quaker stonemason named Hannay played by Richard Fraser. Together they attempt to better conditions for the inmates. However Nell insults Lord Mortimer in the process; she finds herself certified as insane and committed to Bedlam. Hannay attempts to save her.
Many of the leads in Val Lewton films have been described as expressionless, a nicer way of saying wooden. It was often the supporting players in Lewton's films who received the juiciest parts and gave the most animated performances. However, in "Bedlam", Anna Lee gives a spirited and engaging performance – possibly the best in any Lewton film. I say this because of the shades of light and dark the performance called for. By contrast, many Lewton heroines seemed to be in a state of clinical depression from the beginning to the end of their roles – often with good reason. Boris Karloff as Simms is also particularly good, projecting malevolence in an understated performance. Only Richard Fraser as Hannay is more true to form.
Lewton's team uncovered an obscure piece of history to create this story, complete with authentic sounding dialogue – no hint of modern vernacular creeps in to jar the ear. "Bedlam" also has scenes crammed with detail, capturing the feeling of "The Rake's Progress", the Hogarth paintings that inspired Lewton to make the movie.
Once the film enters the asylum, it gains considerable edge. There is great contrast between life on the inside with tattered inmates barely visible in the shadows of the cavernous asylum, and life on the outside with ornately dressed people inhabiting brightly lit rooms. Nell encounters the different layers of society within the asylum – based not surprisingly on mental competence. At first she is afraid, but then she does her best to ease the suffering of the inmates. Eventually this saves her from the excesses of Simms when the inmates rise up to protect her.
Even after 67 years, "Bedlam" still offers something different a little known slice of history, a good story, compelling performances, and that corridor of reaching hands.