Seeking a Pulitzer Prize, a reporter has himself committed to a mental hospital to investigate a murder; as he closes in on the killer, madness closes in on him. Sam Fuller’s Shock Corridor masterfully charts the uneasy terrain between sanity and dementia.
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Unique, existential psychological thriller that combines all things that polarize society into one scenary, time taboos to provoke and confront, seduce and repel. Fuller's aesthetics are vivid, surreal, a perfect hook to get into a bizarre game of identities.
Shock Corridor is amazing as it is underrated. Samuel Fuller's direction is as superb as the script is genius. Fuller's full of tricks and so many of the scenes walk the fine line between random (the impromptu opera performance) and horrifying (the race riot.) I saw this a few years ago and was absolutely blown away. I watched it again last night and loved it even more...
For the second time this week, I've logged onto the site with the specific task in mind of posting a quote from a film on it's wall, only to find that the person directly below me just posted the same exact quote. I'm going to need to reevaluate my entire life.
Absolutely hilarious. I have rarely seen something so wrong in almost every possible way. It's really about acting. His job is to act like a crazy person, but he just goes waaaaay over the top. The girlfriend is a stripper? Fuller complained the movie was not exploitation. Hah! Nice seeing Roscoe P. Coltrane.
High-class hokum, a whodunnit thriller with rather half-baked messages. It is most interesting when dealing with the odd relationship between Johnny and Kathy; the hallucinogenic sequence of her dancing near the start of the film seems to presage David Lynch. The real star of the show is Stanley Cortez's fantastic, trademark hard-edged cinematography.
Big Fuller fan, but this is one of those dreadful message movies with good intentions. Stanley Cortez is tops, but it seems to me that Fuller sat down with a list of American illnesses while penning the script. It never really stands on its own - something which most other Fuller films do effortlessly.
It's sad how there's an unbreachable barrier of history separating me from Shock Corridor. Imagine mainlining this movie in 1963 and feeling all those issues, aesthetics, and emotions in your veins just explode and take shape as the decade progressed. I just wish the movie's central plotline could have been half as interesting as everything that happens around it. Though I suppose the studio system...