You can see what attracted Minnelli to this story, as it's partly about a conflict over decor. Maybe this worked in the novel, but it's hardly the stuff of compelling screen drama. Of course the choice of drapes is symbolic of independence to the patients, and symbolic of her power to Miss Inch, and it's actually a realistically mundane conflict such as might actually occur anywhere. It just seems to be much ado about nothing when it's acted out.

Minnelli uses a bit of the soundtrack of Seven Brides For Seven Brothers, here (the picture that trumped his own Brigadoon at the box office) - in a scene at the movies. Guess he had no hard feelings.

One of Minnelli's interesting misfires. Even though it doesn't really work, I've seen it three or four times.

The acting is good, overall. Richard Widmark (as the director of the clinic) has two leading ladies, Lauren Bacall and Gloria Grahame. This is one of the few times I've ever really seen Grahame miscast. She had a wide range, after all she played everything from Violet Bick in It's A Wonderful Life, to Rosemary Bartlow in The Bad And The Beautiful, to Ado Annie in Oklahoma. But I think you will agree her role defeats her best efforts here. She starts out very well but I'm not sure I always understood where she was coming from as the film wore on. Bacall plays a simple, sensible girl, and does a good job. Lillian Gish plays the unpredictable Miss Inch, Charles Boyer the self-destructing Dr. Devanal, John Kerr the young and artistic Stevie (a role originally announced for James Dean). Oscar Levant is called upon to go outside his usual comfort zone and I'm not sure he makes it. Susan Strasburg is excellent in a small role.

This movie, based on a novel, was made when expensive private mental hospitals provided months or years of psychoanalytically-oriented treatment for small numbers of affluent patients. None of today's antipsychotic or mood-stabilizing pharmaceuticals was yet in use. (One scene shows a patient in a hydrotherapy tub - used for sedation.) Dr Devenal, when things are falling apart, ruefully looks at the book he has written – "The Theory and Practice of Milieu Therapy." This was an important movement in the 1950's, proposing that the patient community was a significant element of the treatment. Patient governments voted on many aspects of institutional life and even, at times, on treatment decisions that properly were the responsibility of professional staff. Conflict over new drapes seems today to be a foolish plot element, but, although exaggerated, it fit the context of the time.

Very disappointing film with Charles Boyer terribly miscast as a therapist in an institution who has lost his self-respect.

We know that there are debates regarding how much autonomy patients should have in these places. The main thrust of the film is about hanging up draperies. I haven't heard that term since the woman portraying Mamie Eisenhower in the fabulous "Backstairs at The White House" correcting the maid for using the term drapes instead of draperies.

Richard Widmark, as the other therapist, is good here but the material, excuse the pun, does him in as well in a poor script. Gloria Grahame, as his frustrated, neglected wife, is also good.

The film does show that both therapists need help for their own problems. The real star here is Lillian Gish, as the neglected, devoted worker trying her very best to assert herself. Gish portrays an anxious spinster who is really unable to cope.

This is certainly not "One Flew Over the Cuckoo's Nest."