Father Rivard is a priest in a small, economically depressed coal mining town. Working on what he thinks is a "controversial" work, he lives with the brutal lives of his poor parishioners, ... See full summary »
Dick Van Dyke,
R.P.M. stands for (political) revolutions per minute. Anthony Quinn plays a liberal college professor at a west coast college during the heady days of campus activism in the late 1960's. ... See full summary »
An African-American prison psychiatrist (Sidney Poitier) finds the boundaries of his professionalism sorely tested when he must counsel a disturbed inmate (Bobby Darin) with bigoted Nazi tendencies.Written by
Producer Stanley Kramer directed the framing story. See more »
For although psychopaths are a small minority, it seems significant that whenever organized and militant hate exist a psychopath is the leader, and if, for instance, one hundred disgruntled and frustrated individuals fall in line behind one psychopath then, in essence, we are concerned with the actions of one hundred and one psychopaths.
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Here Comes the Bride
("The Bridal Chorus") (uncredited)
Composed by Richard Wagner (1850)
Sung at bund meeting See more »
a psychiatrist (sidney Poitier) analyzes a neo-Nazi (bobby Darin)
One of the pioneering films of the early sixties, allowing for more freedom of the screen in terms of both subject matter and style, still waits to be rediscovered. It's Pressure Point, which almost - but not quite - made a fullblown movie star out of Bobby Darin. He had always hoped to be the next Sinatra not only in terms of singing but also acting, and he had the chops for each - though timing was against him as the Beatle invasion dimmed interest in American pop stars. Still, he did appear in about a dozen films, none more remarkable than this study of a psychiatrist (Sidney Poitier) analyzing a Neo-Nazi patient (Darin). Originally, producer Stanley Kramer (who wisely chose not to direct, something he wasn't all that good at) had planned to use a nordic-Anglo type for the patient, someone like the young Robert Redford perhaps, until Darin read for the role and blew everyone away. Though Darin was definitely mostly Italian, and probably part Jewish, and therefore very ethnic looking himself, he left the producer stunned with the intensity of his performance. When the film failed at the box-office, that helped to spell an end to his hoped for movie star career; also, Darin was so convincingly unpleasant that it was hard to take him as a light leading man in comedies with Sandra Dee after seeing him so hard-edged - unforgettably so - here. Poitier is quietly effective, and there's a nice cameo by Peter Falk as a boyish (?!) young psychiatrist who, years later, confers with the elderly Poitier and is told this strange story. Though much of the film is grimly realistic in the black and white style so popular at the time, Darin's dream sequences while under analysis are all surrealistically rendered and highly effective. And while there had been civil rights films made throughout the 1950s, none had ever been quite so daring as this. Here's a lost classic worth rediscovering.
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