An outstanding drama, quite original at that, about mental illness, this Route 66 segment approaches vintage Bergman in its seriousness and insight into human relations. It's as close to perfect as the series ever got, and a memorable experience watching it for the first time some 63 years after broadcast!
The story is presented in one long flashback, opened by first Maharis, then Milner providing voice-over narration as they drive the Corvette with Nina Foch sitting between them, taking her back to her state mental hospital in Catonsville, Maryland after a five-day sojourn outside after 18 years of internment.
With intense attention to visual detail, we see her first day back at work, a clerical office job at a marine repair facility, where M & M are working as hard-hat laborers on fixing the big ships. Her job is in the employment office and she comes into contact with George regarding his paperwork, and a highly dramatic confrontation erupts, over nothing, with Foch exploding at him, and becoming so distraught she feels she belongs back in the looney bin.
This tale about very serious, overlooked subject matter -basically how an individual has to face and cope with the outside world on a daily basis and how difficult it can be for someone unprepared or not used to it, is compelling throughout. The subtle power of Foxh's highly internal acting performance is matched by the boys' terrific empathy and willingness to be open to others, regardless of the situation. The show's novel format allows them to be instigators and reactors to a wide variety of personalities that they encounter on their journeys, and few have the powerful impact of Foch's character. The finale of her ebullient acceptance of the outside world is ruly inspirational.
I had disliked the various Howard Rodman screenplays I've been watching from "Naked City", parallel to this "Route 66" assignment, so this episode is a true revelation. And Richard Donner is a favorite director of mine, doing a wonderful job handling such serious material, quite different from his usual crowd-pleaser shows for TV and the cinema.
Though Nelson Riddle's jaunty theme music plays during the end credit, this episode features throughout a haunting tmusical heme, throughout, not credited.
The story is presented in one long flashback, opened by first Maharis, then Milner providing voice-over narration as they drive the Corvette with Nina Foch sitting between them, taking her back to her state mental hospital in Catonsville, Maryland after a five-day sojourn outside after 18 years of internment.
With intense attention to visual detail, we see her first day back at work, a clerical office job at a marine repair facility, where M & M are working as hard-hat laborers on fixing the big ships. Her job is in the employment office and she comes into contact with George regarding his paperwork, and a highly dramatic confrontation erupts, over nothing, with Foch exploding at him, and becoming so distraught she feels she belongs back in the looney bin.
This tale about very serious, overlooked subject matter -basically how an individual has to face and cope with the outside world on a daily basis and how difficult it can be for someone unprepared or not used to it, is compelling throughout. The subtle power of Foxh's highly internal acting performance is matched by the boys' terrific empathy and willingness to be open to others, regardless of the situation. The show's novel format allows them to be instigators and reactors to a wide variety of personalities that they encounter on their journeys, and few have the powerful impact of Foch's character. The finale of her ebullient acceptance of the outside world is ruly inspirational.
I had disliked the various Howard Rodman screenplays I've been watching from "Naked City", parallel to this "Route 66" assignment, so this episode is a true revelation. And Richard Donner is a favorite director of mine, doing a wonderful job handling such serious material, quite different from his usual crowd-pleaser shows for TV and the cinema.
Though Nelson Riddle's jaunty theme music plays during the end credit, this episode features throughout a haunting tmusical heme, throughout, not credited.