Michael Crichton is probably one of the most well-known authors around, with his novels forming the basis of blockbusters like Jurassic Park (1993), Rising Sun (1993) and smash hit TV show E.R. (1994). In amongst his writing work Crichton would additionally moonlight as a film director, making his debut with TV movie Pursuit (1972) before going on to direct cult Sci-Fi Westworld (1973) amongst others.
He would follow Westworld up with medical thriller Coma (1978), which would become one of his most well received films. Interestingly, the film wasn’t based upon an idea of Crichton’s, instead being an adaptation of another famous authors work, that of Robin Cook.
Both Crichton and Cook were friends, with the two of them sharing a background in medicine, so it makes sense that Crichton would be interested in the story.
Set in and around Boston Memorial hospital, Coma features Genevieve Bujold as Doctor Susan Wheeler, a surgical resident. Wheeler begins to grow suspicious of the hospital after her friend dies on the operating table from what should have been a simple operation.
Starting her own investigation Wheeler uncovers an unnaturally large amount of patients ending up in a Coma state after undergoing straightforward procedures. All cases have striking similarities, with the operations all taking place in the same operating room, being tissue typed beforehand and all comatose patients being shipped to the mysterious Jefferson Institute.
Wheeler brings her findings to boyfriend Mark Bellows (Michael Douglas), a fellow surgeon at Boston Memorial. The sceptical Bellows dismisses her ideas and puts it down to her being stressed by the death of her friend.
Her investigation also brings about some unwanted attention from the hospital’s Chief of Surgery, Dr George Harris (Richard Widmark). Like Bellows, he says that stress is the cause of Wheeler’s delusions, although it becomes clear that Harris knows more than he is letting on.
With no one to turn to, Wheeler has no choice but to forge on her own and try to uncover this horrible conspiracy before it’s too late.
In only his second cinema feature, Crichton does a terrific job in ratcheting up the tension, with the coldly clinical settings of Boston Memorial and especially the Jefferson Institute being wonderfully utilised.
Coma may fit under the thriller genre, but Crichton includes scenes that are as unnerving as any horror movie, all the more so as they are totally plausible. The monsters in Coma are all too human. The opening operation on Lois Chiles is a perfect example of this, with Crichton showing the aloofness of the doctors and how matter of fact they are when dealing with someone’s life. If you didn’t have a fear of hospitals before Coma you will certainly have one by its finale.
There is also some striking imagery, especially the scene of the comatose patients suspended on wires. Apparently this sequence proved quite difficult, with extras only being able to be filmed in short six minute segments due to the physical strain it caused. Still, it was worth it, as not only does the image stick in the mind but it was used on the films poster.
As well as directing, Crichton wrote the screenplay. Having never read the novel I can’t vouch for its authenticity, but the film is filled with memorable characters and dialogue, with the situation included suitably sustaining tension.
In addition to being tension filled, Crichton elicits terrific performances from his talented cast. Apparently Production Company United Artists wanted to change the main character of Coma to a male, with Paul Newman being suggested as a possible lead. Thankfully Crichton stuck with the novel, stating that if he cast a male, Coma would just be another conventional thriller.
Casting Genevieve Bujold in the lead role was a masterstroke, with her giving one of her best performances. Wheeler initially comes across as cold, but you start to warm to her as the film progresses, especially when she is constantly dismissed by a group of sexist and patronising hospital staff as well as her own boyfriend.
This is a lesser role for Michael Douglas, as he had yet to become the superstar we know today. Still he manages to make an impression, with him adding a touch of mystery about his character, with the audience being unsure whether he is also involved in the conspiracy.
Up till this point, this was probably the largest role Douglas had outside of television. He did however have considerable success as a producer with One Flew over the Cuckoo’s Nest (1975), which snagged him an Oscar.
Richard Widmark was no stranger to villainous roles, having alternated between hero and villain roles throughout his career. He featured in more supporting roles by this point in his career, varying in quality. Coma is one of his better roles of the time, with him excelling at playing the rationale Dr Harris, who coldly explains his reasoning to Bujold’s character. As a selling point, the promotional material exclaimed that this film marked Widmark’s 30 year anniversary in film.
Showing up in smaller but notable roles are the likes of Rip Torn, Elizabeth Ashley and Lois Chiles. All get limited screen time but are of major importance to the plot. Also look out for early screen appearances from Ed Harris as a pathologist and Tom Selleck as a doomed patient. Selleck would later play the lead in Michael Crichton’s Runaway (1984), an altogether different type of thriller from Coma.
Directors Ridley and Tony Scott would go on to produce a re-make of Coma years later. Turned into a mini-series and directed by Mikael Solomon, Coma (2012) sadly failed to generate the same level of excitement as the original, with an overly complicated plot and unnecessary padding in order to stretch out its run time.
The Mini Series did have some interesting additions and memorable performances from Ellen Burstyn, James Woods and Geena Davis to at least make it worthwhile. Still if you have to decide which version of Coma to go with, stick with the original.
Rating: 4/5
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