A Fine Madness

Directed by Irvin Kershner, A Fine Madness details the exploits of temperamental, abusive poet Samson Shillitoe (Sean Connery) and the impact his combative ways have on the various folks in his life (including his long-suffering wife, Joanne Woodward’s Rhoda). It’s a decent-enough premise that’s employed to increasingly (and aggressively) unwatchable effect by Kershner, as the filmmaker, working from a script by Elliott Baker, delivers a meandering, episodic narrative that’s almost entirely devoid of compelling attributes or stand-out sequences – with the movie’s pervasively arms-length atmosphere exacerbated by a central character that couldn’t possibly be less sympathetic or more obnoxious. (This is, after all, a man who abuses literally everyone he comes in contact with and even punches a pregnant woman in the mouth!) It’s clear, then, that A Fine Madness grows more and more intolerable as it progresses into a frequently perplexing second half – there is, for example, an interlude wherein Samson is unsuccessfully lobotomized (!) – and there’s no doubt, as well, that Connery’s nails-on-a-chalkboard performance does little to alleviate the intolerable vibe, which ultimately does cement the picture’s place as a complete and total misfire of often epic proportions.

no stars out of ****