The Hospital (1971)

An overly dark and rather dreary satire, it is nevertheless full of interesting ideas, and George C. Scott delivers very well as a suicidal hospital administrator even if he has a few over-the-top moments. The whole script in fact feels a bit outrageous and over-the-top, in a manner that lacks realism. However the heart of the script, like with Chayefsky's other films, such as 'Marty' and 'Network', centers around anger, and this emotion is dealt with throughout the film, with some interesting thoughts on how to cope with it, but no real answers. Anyway, The Hospital is an interesting enough watch, with a murder subplot that proves to be thought-provoking later on, even if mystifying at first. Diana Rigg is great, and even if somewhat flawed, this is good stuff.

Fmovies: Hospital (1971)

George C. Scott is amazing, just terrific as a struggling, aging, world-weary doctor. A couple of the speeches he gives (from the sharply written screenplay) are first rate quotable stuff. See this movie for him alone.

Overall, this is certainly a New Hollywood movie, straight out of the late 1960s politics and sexual revolution. It's also a bit of a middle-aged male fantasy (the director and writer and main actor being of course all middle aged males). I mean, a key line in the movie is when young and slightly batty Barbara, played by Diana Rigg (Emma Peel in the television series "The Avengers"), says to the very middle aged George C. Scott, "I have a thing for middle aged men." Or something to that effect--and you know what happens next.

But that's the weakest part of the movie. The best part is the hospital scene itself, the chaotic and scary lack of medical professionalism at an under-funded big city medical center. Scott plays the chief of medicine, Dr. Bock, and he gradually sniffs out a truly murderous element to the place, a kind of whodunnit built into this otherwise growing drama of doctors inside and protesters outside (usually) and a general sense that the old order isn't able to keep order against the rising restlessness of young people and their demands.

In a way, the flakiness of Barbara and the rock-steady but yet suicidal authority of Bock are symbolic of the two sides, the two generations, that signified so much back then. Barbara suggests dropping out and turning on, and the doctor grows to the idea. I mean, who wouldn't in his shoes, having Diana Rigg begging you to leave your miserable job and life and moving to the mountains of Mexico to make babies. That's no exaggeration--that's the carrot, and the doctor sees it the way many people saw it then, the escape as a reasonable alternative to a crumbling world.

And yet, the hospital has needs, like dying people, and a group of people displaced from their apartment building next door, and of course this murderer on the loose.

In a way, it's a sloppy, terribly constructed movie. But it has an element of abandonment and realism from the era that really works. If you just go along with the superficial parts of the plot, which are fun, you might just get sucked into the tawdry medical world in 1971 Manhattan.

The writer, by the way, is Paddy Chayefsky, and he won his second Oscar for this screenplay. It was considered that timely and sharp at the time, and there is some terrific writing, some really good dialog to keep it humming. (He did a ton of television, but also next wrote the screenplay for "Network," winning his third Oscar for that.)

The director, Arthur Hiller, moved from 1960s television to movie directing and made a lot of middling fare, though a few became well known such as "Love Story" (1970) and "Man of La Mancha" (1972). The cinematographer Victor J. Kemper is straight out of New Hollywood and his style feels beautifully unpolished and complex (he went on to do a lot of solid movies, some really terrific like "Dog Day Afternoon"), and this helps hold the disparate plot elements together.

Anybody who goes to the Manhattan Hospital Center is taking his life in his hands. That includes the staff of The Hospital.

I had never seen The Hospital before and I was intrigued at how similar the characters and situations of the plot were to that other Paddy Chayefsky masterpiece, Network. There are elements in George C. Scott's character that have both Al Schumacher's and Howard Beale's.

He's the administrator of The Hospital and he's mad as hell and not going to take it any more. He's completely estranged from his wife and kids. It takes a Faye Dunaway type character in the person of Diana Rigg to make him snap out of it. One roll in the hay with her and he's shocked back to reality and the fact he still can contribute in the world.

But first he's got a real problem. Someone is out killing hospital staff, four of them in a 48 hour period. And the nice part is their deaths can be attributed to in large part to the general incompetence of a medical bureaucracy. That's where the comedy comes in.

There is an actual Howard Beale type character in the person of Barnard Hughes, Diana Rigg's father. His end is not quite as dramatic as Beale's though.

Back in my working days it was part of my job to pay medical suppliers. Some of them could be as big creeps as you'll find portrayed in The Hospital. The black comedy satire had some real bite to it for me.

George C. Scott was nominated for Best Actor, but having won and refused to accept the previous year's Oscar for Patton, he wasn't about to get a second chance. He lost to Gene Hackman for The French Connection. Still his handling of the role is unforgettable.

Try viewing The Hospital back to back with Network and see how many similarities you spot.

The Hospital fmovies. George Scott gave the performance of a lifetime in Paddy Chayefsky's THE HOSPITAL, a very dark drama about an aging big city hospital and a middle-aged physician on the verge of suicide. Along comes Diana Rigg as a free spirit determined to save him from himself. Their dialog crackles, and it is clear they are made for each other from the outset. But will she save him? Their one sex scene is both graphic and memorable for its passion and fury. Meanwhile, the hospital is under siege by a group of agitators who don't want it to turn a condemned building into a cancer center. And a serial killer is loose in the hospital, specializing in doctors and nurses. A good part of the movie, though, is squarely focused on Scott. As it should be. What a difference a few years made back when this movie was made. 1962 had given us THE INTERNS, a hokey, old-fashioned reworking of DR. KILDARE with terrible acting and a cardboard script. Along came 1971 and THE HOSPITAL. Less than 10 years later. Hollywood did something right for a change. Watching THE HOSPITAL today is a reminder of how much medical shows like ST. ELSEWHERE and SCRUBS owe to this enduring classic. And if THE HOSPITAL reminds you of NETWORK, it should. Same scripter.

I had never paid much attention to this flick until I learned that Paddy Chayefsky - author of the brilliant "Network" - was the scriptwriter. His work there had instructed me as to his genius, so when 'Hospital' appeared on TMC, I was anxious to see it. I was not disappointed. Looking at both this film and "Network" it would seem that his big theme is the absurdity, inanity, and sheer viciousness of large human enterprises (e.g., hospitals, networks) against the sanctity of individual experience and the human spirit, and all of it delivered with a knife-edge sense of utterly black humor. "Hospital" is as black of a comedy as "Network" is, and the excellent cast, led by the incomparable Scott, does his work full justice. This is a keeper; definitely not to miss.

Read a biography of the late George C. Scott and you'll discover why he was so enormously talented. He was asked by an interviewer what his secret was when making each character he played his own. Scott replied, he possessed inside him a burning fire which drove him. In one of his last interviewers, he sadly revealed he had lost the drive. This was not the case when he starred in the movie, "The Hospital." In this offering, he plays talented doctor Bock, medical director of one of the finest hospitals in the country. However, life has dealt him some crippling problems, such as losing his wife to a divorce, becoming alienated from both his promising children and worse of all, believing himself to be physically impotent. At this point, he is now becoming complacent, morose and frequently fantasizes various ways of committing suicide. To add to his growing list of personal obstacles, his main reason for being, his hospital has come under siege by students and neighborhood protesters, incompetent doctors like Dr. Welbeck (Richard Dysart) and a mysterious MD. who is killing both patients and doctors alike, because he believes he is "the Wrath of the Lamb." (Barnard Hughes). Few choices are left to Bock. One is promising doctor Brubaker (Robert Walden) whom he confides in by saying, "If there were an oven around here, I would put my head in it." The second is a luscious young woman, named Barbara who is attracted to Bock because he acts like a wounded bear. Paddy Chayefsky wrote the screen-play and Arthur Hiller did an extremely good job of directing this dramatically interesting, dark story, but a vehicle nonetheless, lit by the fire of George C. Scott. ****