HYSTERIA
UK, 2012, 100 minutes, Colour.
Hugh Dancy, Maggie Gyllenhaal, Jonathan Pryce, Rupert Everett, Felicity Jones, Sheridan Smith, Gemma Jones.
Directed by Tanya Wexler
Basically, this is a Victorian romp, with consideration both to the Dickensian realities of medicine and hospital treatment in the 1880s (a lot of attention to period detail, costumes, décor, settings, both lavish and squalid) as well as a sense of naughtiness in showing the unwitting discovery of the vibrator.
One of the problems of watching the film these days (maybe this is more of a problem for men than for women, many of whom have found Hysteria quite a feminist entertainment) is that doctors behaving in the way that these doctors do in their treatment of women’s ‘hysteria’ would now land them in the courts and, possibly, in jail.
But, in its serious vein, it reminds audiences of how dominant men were in medical practice up to that period and into the 20th century. And it shows that men had their own presuppositions about women’s issues, emotions, psychology and health issues. Anything that ‘upset’ them was, until not all that long ago simply, simplistically, labeled ‘hysteria’. It was, at least with the doctors shown here, to be treated physiologically (while they underestimated, or did not understand, the sexual intimacy). Jonathan Pryce is very good as the opinionated doctor who has a very successful practice with a large clientele who come for his treatment and leave more than satisfied.
Hugh Dancy is also very good as the sincere and earnest doctor who talks germs with uncomprehending medical authorities and advocates, to their disdain, washing of hands. No wonder, he loses all his positions. But, treating hysteria, he is a success.
Two things happen to him. It is expected that he will court the intellectually enterprising daughter of his employer (Felicity Jones) while being highly suspect of the other daughter, the feminist (Maggie Gyllenhall, British accent and all) who puts her theories into practice in working in poor houses and campaigning for rites. Not hard to work out what will eventuate here (including an interesting court case).
Yes, the film is about the discovery of the vibrator (and the final credits show images of developments for the next hundred and more years), the young doctor working with his inventor friend (Rupert Everett) and realising the effect of an electric feather duster.
The screenplay is often witty, often incisive, critical of past medical practices, an amusing issue-raiser.
Having said that, Hysteria has many funny moments.
1. A comic film, with serious themes and issues? Women’s issues? Men’s issues with women? The transition from the 19th century into the 20th century?
2. The London settings, 1880, 19th century, doctors and the squalid hospitals? The wealthy doctors and their reception rooms? Wealthy style? The poor houses and the need for financial support, education, medicine, protection against men’s brutality? Protests? The doctors and their clientele in the hospitals, leaving them, not interested in hygiene? The contrast with the treatment of the fashionable women with hysteria?
3. The title, the definition of hysteria at the time, a women’s issue, sexual issue, psychological and physiological issue? The doctors, the definitions, the studies? Their treatment of hysteria, physiological, sexual – but their not realising what was happening or else considering it medical treatment? Charlotte and her blunt naming what was happening?
4. Mortimer as the hero, his background, orphan, being taken in by the wealthy family, his education, friendship with Edmund? His work in the hospitals, his concern about hygiene and germs, his reading medical articles, wanting sanitary conditions, his reaction to the pompous doctors and their wanting bleeding, suspicious of anything new? His being sacked, argument with doctors, working in many hospitals? His searching for a job, the news about Dalrymple, the interview, his earnestness, his being given the job? The possibilities, moving into the house, meeting Emily, her intellectual approach, phrenology and his head, his wariness of women, the touch of the chauvinist? Charlotte and her arriving, her upsetting behaviour, the clash with Dr Dalrymple, only later discovering that she was Dalrymple’s daughter?
5. The collage of women coming in for treatment, wealthy, their self-diagnoses, discussions with Dalrymple, the treatment, the emphasis with the camera on the sexual satisfaction? The repeat visits? The crowd in the waiting room?
6. Jonathan, instructing Mortimer, the first treatment, Mortimer and his caution, adjusting? The constant work, the effect on his hand muscles? The effect on Mortimer?
7. Kimberley, imitating her father, her intellectual pursuits, reading, piano? The expected attention from Mortimer? Their walks in the park, their discussions? Mortimer and his falling in love? The proposal? The plans for the party for the engagement?
8. The contrast with Charlotte, arriving at the dinner, her attitude towards her father, taunts, her sister, the discussions with Mortimer? Her raising issues and their talking about the meal and the fish? Her exasperation?
9. Her work at the centre, giving her time, attention? The various people, the children needing education? The woman being brutalised? Her wanting her treated for her injuries? Mortimer and his willingness? The treatment, the response? His later coming to the centre, helping the woman? Admiring Charlotte but disapproving of her? Cup of tea, talking?
10. Charlotte, the appeal for money, the wealthy couple, her father buying the bond, not fulfilling it? The preparing for the dinner, her dress transformation? At the meal, discussions with Mortimer, with her father, with the couple? The intrusion of the woman, her leaving and going to the centre?
11. Her outspokenness, her attack on the police, the arrest, in prison? The days?
12. The maid, the former prostitute, working in the house? Her willingness to be a subject of experiments, the effect on her, sexual?
13. Edmund, the dilettante, his wealth, his experiments, the phone and the calls, to the Queen? The duster, the feathers, the batteries? Mortimer and his friendship, the discussions, testing out the duster, its massaging effect? Edmund and his pursuits, the patents, the money and Mortimer’s share, a secure future?
14. The engagement, the party, his talking with Charlotte, his foster parents and their interest? Emily working the room with the guests? The interruption, Charlotte and her tantrum, the issue of the money, her walking out, the engagement party spoilt? Mortimer’s support?
15. Mortimer losing his job? The prospects? His taking the machine to Dalrymple, the test, the opera singer and the treatment, the machine’s effect, her singing?
16. Mortimer and his money, Charlotte, his support?
17. The court case, her father stating that she had hysteria, if this was found, her confinement to an institution? Her plea to Mortimer? His walk in the park, his return to the court? The judge, the questions to Charlotte, her answers, the women in the gallery, Molly, Mortimer’s foster mother? The reaction of the crowd?
18. Mortimer the stand, his being questioned, his admiration for Charlotte?
19. His joining Charlotte at the centre, her wanting to buy the adjacent building and land, his investing the money – and the happy ending for all?
20. The catalogue of vibrators (and Queen Victoria) and the historical development during the final credits?
