The house of the “insane” must be fascinating to the relatively sane. After all, an asylum is a world alien to the average Joe, who must obtain any form of information or understanding of a psychiatric hospital and its inmates primarily through mainstream media. However, the practice of institutionalization has suffered a significant decline since the midpoint of the 20th century when the first wave of deinstitutionalization movements came to the fore. In the late 1960s, the contemporary reactions to mental illness had generally fallen between two polarized attitudes: a romanticism of the subject as an altered state of consciousness that was teeming with artistic and creative inspiration, and a misunderstood and feared condemnation of mental illness as a fatal flaw in the sufferer. I Never Promised You a Rose Garden seems to address both attitudes, suggesting that the road to recovery is unglamorous and laced with doubt and fear. However, perhaps the most important relationship lies between patient and doctor, Deborah Blake and Dr. Fried. The latter’s strategy is sincere empathy, which requires emotional sensitivity and intuition on top of all the clinical training. A strong relationship depends on the acknowledgment of the inexplicable or illusory facets of the illness as a stepping stone for recovery; in fact, Dr. Fried values Deborah’s imaginary kingdom of Yr as an interpretive map that can guide her to recovery. The logic, or lack thereof, in Yr serves as a stark contrast to the confusing and irrational laws of reality, from which Deborah initially recoiled. The legacy that the film leaves us with essentially rests in the importance of empathy, respect, sympathy toward patients of mental illness. Certainly the criticisms of public hospitals, government funding, and antiquated public opinion about mental illnesses are resonant in I Never Promised You a Rose a Garden, paving the way towards greater deinstitutionalization and more humane alternatives.
From Life to Literature to Cinema
Upon the astonishing success of Milo Forman’s One Flew Over the Cuckoo’s Nest in 1975, Roger Corman achieved funding for a film adaptation of Joanne Greenberg’s semi-autobiographical novel. Both are fictionalized accounts of the author’s three-year battle with schizophrenia, which at the time was a trashcan diagnosis that could have covered any mental illness from anxiety to depression. In fact, a 1981 New York Times article cites two psychiatrists who examined her self-description of the schizophrenic symptoms and concluded that she rather suffered from extreme depression and somatization disorder. Nevertheless, the film succeeds in exploring not only the life of mental illness, but also the conditions of a psychiatric ward, with gritty realism. The stale air and the dimmed lighting only augment the harsh ruthlessness of Greenberg’s experiences, and undermine the mere flickers of hope that seem to infrequently penetrate the desperation of recovery.
The Famous Few
Certainly a significant advantage in the film’s positive reception comes from the studded cast. The Swedish actress Bibi Andersson, who was already well-known for her important work with Ingmar Bergman in films like Wild Strawberries and The Seventh Seal, plays the empathic Dr. Fried and serves as the crucial point in Deborah Blake’s recovery. Deborah’s parents, Jay and Ester Blake, are played respectively by Ben Piazza and Lorraine Gary, the latter of which became most famous as Ellen Brody in the Jaws series.
Nevertheless, the most acclaimed performance came from a then-unknown actress named Kathleen Quinlan. It was an early role for Quinlan who, like many of the alumni in the Corman School of Film, earned an immense leap in her career. She achieved her film debut in George Lucas’s American Graffiti in 1973 at the age of 19, and subsequently appeared in various supporting roles, mostly in television. However, her portrayal of Deborah Blake in I Never Promised You a Rose Garden placed her name on the Hollywood map especially after earning a Golden Globe nomination. In fact, the film garnered additional nominations for “Best Motion Picture – Drama” at the Golden Globes, “Best Adapted Screenplay” at the Oscars, and “Best Drama Adapted from Another Medium” at the Writer’s Guild Awards. Indeed, Quinlan’s embodiment of a schizophrenic with multiple personalities trained her for the variegated roles that she would come to portray. Arguably her best-known work includes Marilyn Lovell in Ron Howard’s (another Corman alum) Apollo 13, for which she received both Golden Globe and Oscar nominations; Jim Morrison’s Celtic Pagan lover Patricia Kennealy in Oliver Stone’s The Doors; and Amy Taylor in Jonathan Mostow’s Breakdown. Since then, she has guest-starred in numerous television roles, including one as the psychiatrist Dr. Shane in an episode of Glee. The accomplishments of her portrayal of Deborah Blake certainly wowed enough critics and audiences to set her on a path to stardom which continues today.