Shock Corridor (Samuel Fuller, 1963): USA

Reviewed by Tim Barnes. Viewed on DVD.

I was very surprised that Shock Corridor, a mostly black & white film made in 1963 was actually quite scandalous to my insensitive and  technology ridden 21st century  mind. It it by no surprise, however,  that such a movie was directed by Samuel Fuller (1912-1997), one of the most influential filmmakers who made a point to delve into the uncomfortable areas of politics and culture.

The movie centers around John Barrett (Peter Breck), an undercover journalist doubling as an incestuous lunatic in an asylum to solve a murder mystery.  Now that’s a Freudian dilemma if I’ve ever heard one! Especially since his wife, Cathy (Constance Towers), an erotic dancer is forced to play along as his sister and file charges to have him committed. He intermingles with the likes of  a man who thinks he’s a confederate soldier, and Trent (Hari Rhodes) a stern  African American schitzophrenic who preaches the gospel of the Klu Klux Klan. The main hallway of the building is referred to by the doctors as the “street”, Barret thinks of it as a “magical highway to the Pulitzer Prize.” His roommate, Pagliacci (Larry Tucker) , is a large bearded man with the voice and figure of Pavarotti who gives him his first set of clues . The psychological aspects of this film are truly impelling. Barret has nightmares regarding his wife, but so ambitiously wants to be recognized that he puts everything , including his sanity on the line.  “When you’re asleep” , Pagliacci, tells him “no one can tell a sane man from an insane man.”

Shock Corridor is a great example of a film shot on a low budget with heart and style. Fuller utilized sound and image in unconventional ways. When members of the Asylum begin to have vivid memories, the footage suddenly shifts to color.. a very jarring effect. Also, Fuller utilized voice over and music as counterpoint between the insanity of a given person’s mind and the reality surrounding them. When Barrett’s large roommate begins singing in the middle of the night, the music switches to booming operatic music for Pagliacci’s close ups, and returns to ambient sound within seconds as it cuts back to wide. Peter Breck does an incredible job of acting by the standards of the time. His gradual turn to seeming insanity is a treat to see. It is a guilty pleasure of many movie goers to see a character go crazy. The film doesn’t skim lightly over the topic of race or sexuality either. In one scene, Trent gives an incredibly emotional monologue and really stabs directly into the heart of the issue. “And the irony of it is that many Negroes are mulatto” says Trent “and integration is well established down south.”  These to me were the most shocking moments.. the moments of pure reality.

 This movie is easily comparable to One Flew Over the Cuckoos Nest and The Shining.  And there is hardly a doubt in my mind that both drew inspiration from Corridor.  But with all the gritty psychological aspects of the film, there are also well balanced lighter moments. For example there is a scene where Barret accidentally stumbles into a room full of attractive nympho’s who impulsively attack him with immense sexual vigor whilst singing “My Bonie”. It is definitely a must see.