Brother Superior: When the heart speaks, Brother Orchid, other hearts must listen.
Brother Orchid (1940)
Interested in seeing a screwball-comedy-film noir gangster-western-religious flick? I am always on the lookout for oddball films for Advent and they don’t come odder, or more heart warming, than Brother Orchid (1940). Starring Edward G. Robinson with a fantastic supporting cast including Humphrey Bogart, Ann Southern, Ralph Bellamy and Donald Crisp, it is a trip back to the Golden Age of Hollywood when literate, thoughtful films were considered mass entertainment. It also is a fine exponent of a facet of the human condition that is not much commented upon today: the seductive power of goodness. A review of the film is below with the usual caveat as to spoilers. Continue reading
As faithful readers of this blog know, I am a film buff. I therefore was pleased when Dr. Peter Dans, a friend of mine and commenter on the blog, brought to my attention his book Christians in the Movies: A Century of Saints and Sinners. Peter is a medical doctor and a former professor of medicine at Johns Hopkins. Go here to learn about his professional activities. He is also a faithful Catholic, a skilled writer and an all around good guy. However, I am here to review the book and not to review the author!
Published in 2011 by Sheed & Ward, the book is a fairly comprehensive look at how film has portrayed Christians and Christianity from 1905-2008. The book proceeds chronologically with chapters devoted to films of the silent era, films of the forties, etc. The chapters open with a general overview of the film period being discussed and then a look at selected films. The films are not limited to those self-consciously religious, but also those in which religion is a major plot element. Thus the Oscar winning film Sergeant York (1941) is included because of its examination of the religious conflict that World War I hero Alvin C. York had to resolve before he could in good conscious fight for his country. Dr. Dans also looks at the impact of the films examined, for example in regard to Sergeant York he mentions that the film was denounced by the isolationist Senator Nye as propaganda to get America into World War II. Some of the facts that the author discusses were news to me. For example I have watched the film Song of Bernadette (1943) about Bernadette Soubirous and Lourdes but I was unaware that it was based on a book written by Franz Werfel, a Jew, who made a vow to write a book about Bernadette when he and wife were hidden from the Gestapo by nuns and families at Lourdes. In regard to Going My Way, 1944, Dr. Dans reveals that Pope Pius XII was so taken by the film that he granted a private audience to Bing Cosby and credited the film with helping to spur priestly vocations. I like it when a book gives me information that I was unaware of, and this book accomplished that task.
The book is not limited to films that have become well known. For example there is a section devoted to one of my favorite westerns, Stars in My Crown, 1950, in which Joel McCrea portrays a Union veteran who becomes a Protestant minister and his travails as he brings religion to a town and fights the Ku Klux Klan.
Something for the weekend. The score from the movie Twelve O’clock High (1949). A film shorn of any Hollywood glamor or heroics, it tells the story of the fictional 918th bomb group as it pioneers daylight precision bombing in the early days of the Eighth Air Force in England and suffers harrowing losses as a result. Veterans of the Eighth Air Force applauded the film for its stark realism and its demonstration of the impact of war on the men called upon to fight it. Anyone who has not seen this masterpiece should do so as quickly as possible.
Here is the opening of the film:
Something for the weekend. Whatever Happened to Randolph Scott by the Statler Brothers. A 1974 lament of how tawdry the movies had become, it fastened on Randolph Scott, king of B-movie westerns, as an icon for a better day when kids could be taken to the movies without parents being concerned about what they would be exposed to. I heard this song endlessly when it came out, my parents’ radio blaring it most mornings in the kitchen in 74 in the hour before I and my brother got up to prepare for yet another day in high school.
Scott was born as far from the West as it was possible to be in Virginia and raised in North Carolina. His family had money so he was educated in private schools. During World War I he served as an artillery observer in France, a highly dangerous post. (After Pearl Harbor, the 43 year old Scott attempted to enlist as a Marine, but was rejected due to his bad back.)
After his service in World War I, he worked for a time with his father in the textile industry in North Carolina. In 1927 he moved to California to embark on an acting career with a letter of introduction from his father to Howard Hughes. The next few years saw him develop his acting skills with bit parts and small roles. In 1931 he had his first leading role in the film Women Men Marry. In the film Heritage of the Desert (1932) Scott played his first leading role in a Western, the first of ten films he would make based on Zane Grey novels.
Until the conclusion of World War II, Scott starred in a variety of film genres, but after the War he concentrated solely on Westerns. Scott was a modest man and always underestimated his considerable skill as an actor. He was comfortable in Westerns and decided to stick with them. It was an inspired choice. As he aged his handsome features took on a weathered, stoic look, and helped make him a Western icon.
Scott did not financially need to make films after the War. Shrewd land purchases in California helped make him a multi-millionaire, and he increasingly looked upon his acting as a hobby. By 1962 he was ready to retire, but he was convinced to make one last Western with his friend Joel McCrea. McCrea and Scott had much in common: both had become very wealthy through land purchases and neither needed to work in film, post World War II McCrea had gravitated to B Westerns, and both he and Scott were staunch Republicans.
The film that they made in 1962 is now regarded as a classic. Ride the High Country was the second film to be directed by Sam Pekinpah. It tells the tale of two former Old West lawmen who have fallen on hard times. Steve Judd, Joel McCrea, has been hired by a bank in the early years of the last century to bring back 20,000 in gold from a mining camp. Judd is elated because this is the first lawman like job that he has had in a very long time. He runs into his old friend Gil Westrum, Randolph Scott, who is making a meager living running a shooting gallery in a circus. Judd invites Westrum and his young friend Heck Longtree, Ron Starr, to join him in the job. They agree, Westrum and Longtree planning to steal the gold. As the film proceeds it becomes obvious that Judd still holds to the same code of honor and honesty that he upheld as a law man. Westrum does not, having grown bitter with age and viewing the gold as his reward for his courage as a lawman, a courage that was not rewarded monetarily and has left him facing a hard scrabble old age. Ultimately Judd realizes what Westrum is up to and disarms both him and Longtree, planning to put them on trial for attempted robbery. The plot is complicated by Elsa Knudsen, Mariette Hartley in her screen debut, who the trio rescue from a miner she has just married who plans to have her serve not only as his bride but also as the “bride” of his four brothers. Longtree grows to admire Judd for his courage and stubborn honesty while Westrum escapes, only to ride to the rescue at the end of the film to help Judd. Continue reading
(I originally posted this in 2009 when the blog readership was much smaller. The Caine Mutiny has always been one of my favorite films and I am taking the excuse of my vacation from the blog to repost this review.)
For my sins, perhaps, I have spent my career as an attorney. Over the past 31 years I’ve done a fair number of trials, both bench and jury, and I am always on the lookout for good depictions of trials in films, and one of the best is The Caine Mutiny. Based on the novel of the same name by Herman Wouk, who served in the Navy as an officer in the Pacific during World War II, the movie addresses the question of what should, and should not, be done in a military organization when the man at the top of the chain of command is no longer in his right mind.
The cast is top notch. Humphrey Bogart, an enlisted man in the Navy during WWI and a member of the Naval Reserve, he tried to enlist again in the Navy after Pearl Harbor but was turned down because of his age, gives the performance of his career as Lieutenant Commander Philip Francis Queeg, the captain of the Caine. In the hands of a lesser actor Queeg could easily have become merely a two-dimensional madman. Bogart instead infuses Queeg with pathos and demonstrates to the audience that this is a good man who sadly is no longer responsible mentally for his actions. Van Johnson delivers his usual workmanlike job as Lieutenant Stephen Maryk, the “exec” of the Caine, a career officer who does his best to remain loyal to an obviously disturbed CO, while also attempting to protect the crew of the Caine from Queeg’s increasingly erratic behavior. Robert Francis, as Ensign Willis Seward Keith, is the viewpoint character, too young and inexperienced to make his own judgment he relies on Maryk and Lieutenant Keefer. Fred MacMurray is slime incarnate as Lieutenant Thomas Keefer, a reservist who hates the Navy, spends all his time writing a novel, and eggs Maryk on to take command away from Queeg. Finally, in a typhoon, reluctantly and only, as he perceives it, to save the ship, Maryk, with the support of Keith, relieves Queeg from command.
In the ensuing court-martial of Maryk and Keith, lawyer Lieutenant Barney Greenwald, portrayed with panache by Jose Ferrer, reluctantly agrees to defend them.
What I admire most about the film is the realistic way that the defense is depicted. A legal case consists of the facts, the law and people. Continue reading
In the past year three films on President Lincoln have been released: the truly odious Abraham Lincoln Vampire Hunter, the superb Lincoln and now the low budget, funded by Kickstarter, Saving Lincoln. I am pleased to report that I think Saving Lincoln is much closer in quality to Lincoln than Vampire Hunter. The film has an intriguing take on Mr. Lincoln and I was both amused and moved by it. My full review is below. The usual caveat regarding spoilers ahead is given. Continue reading
(This post originally ran in 2010. The movies listed would make excellent viewing tomorrow and any day.)
Last year I listed here my top ten picks for movies about the America Revolution for the Fourth. This year here is my list of patriotic movies for the Fourth.
10. National Treasure (2004)-Sure it’s cursed with a ridiculous plot involving the masons and a treasure, it is still a lot of fun and calls us back to the foundation document, the Declaration of Independence, that is the cornerstone of our Republic.
9. Hamburger Hill (1987)-Content advisory: very, very strong language in the video clip which may be viewed here. All the Vietnam veterans I’ve mentioned it to have nothing but praise for this film which depicts the assault on Hill 937 by elements of the 101rst Division, May 10-20, 1969. It is a fitting tribute to the valor of the American troops who served their country in an unpopular war a great deal better than their country served them.
8. Yankee Doodle Dandy (1942)-James Cagney in perhaps the greatest film bio of them all, a salute to George M. Cohan, the legendary composer, playwright and patriot.
7. The Alamo (1960)-“The Republic” scene from The Alamo, a film which was basically John Wayne’s love note to America.
6. Gettysburg (1993)-The movie that I think comes the closest to conveying to us the passions of the Civil War. You really can’t understand America unless you understand the Civil War. As Shelby Foote, one of the greatest historians of the war, said: “Any understanding of this nation has to be based, and I mean really based, on an understanding of the Civil War. I believe that firmly. It defined us. The Revolution did what it did. Our involvement in European wars, beginning with the First World War, did what it did. But the Civil War defined us as what we are and it opened us to being what we became, good and bad things. And it is very necessary, if you are going to understand the American character in the twentieth century, to learn about this enormous catastrophe of the mid-nineteenth century. It was the crossroads of our being, and it was a hell of a crossroads.”
Posterity! You will never know how much it cost the present Generation to preserve your Freedom! I hope you will make good use of it. If you do not, I shall repent in Heaven, that I ever took half the Pains to preserve it.
The United States Conference of Catholic Bishops have proclaimed a second Fortnight for Freedom from June 21-July 4th, and, as last year, The American Catholic will participate with special blog posts each day.
This is a repeat from a post last year, with some slight modifications, but I think the logic behind the post still holds true. As we are embroiled now in a struggle to preserve our religious liberty, I think the Fourth of July is a good time to recall the price paid to establish our liberties. It is trite to say that freedom is not free, but it is also true. A people who forget this eternal lesson will not remain free for long.
A number of feature films and miniseries have been made about the events of the American Revolution. Here are my top ten choices for Fourth of July viewing:
10. Ben and Me (1953)- Something for the younger patriots. Disney put to film the novel of Robert Lawson, Ben and Me, which related how many of Ben Franklin’s bright ideas came from his mouse Amos. Quite a bit of fun. Not a classic but certainly an overlooked gem.
9. The Crossing (2000)-A retelling of Washington’s brilliant crossing of the Delaware on Christmas 1776 and the battle of Trenton. This film would rank much higher on my list but for Jeff Daniels’ portrayal of Washington as sullen and out of sorts throughout the movie. Washington had a temper, and he could give vent to it if provoked, although he usually kept it under control, but the peevish Washington portrayed here is simply ahistoric and mars an otherwise good recreation of the turning point of the Revolution.
8. John Paul Jones (1959) Robert Stack, just before he rose to fame in the Untouchables, is grand in the role of the archetypal American sea hero. Bette Davis is absolutely unforgettable as Catherine the Great. The climactic sea battle with the Serapis is well done, especially for those pre-CGI days. The only problem with the film is that many of the details are wrong. This is forgivable to a certain extent since scholarship on Jones was badly skewed by Augustus Buell in a two-volume “scholarly biography” which appeared in 1900. Buell was a charlatan who made up many incidents about Jones and then invented sources to support his fabrications. Buell was not completely exposed until Samuel Eliot Morison, Harvard professor of history, and an Admiral in the Navy, wrote his definitive biography of Jones. Here is a list of the fabrications of Buell compiled by Morison. Morison’s book appeared after the movie, which is to be regretted.
7. The Patriot (2000) Finally, a film which depicts the unsung contribution of Australians to victory in the American Revolution! Actually not too bad of a film overall. Heath Ledger is quite good as Gibson’s oldest son who joins the Continentals at the beginning of the war against his father’s wishes. Jason Isaacs is snarlingly good as the evil Colonel Tavington, very loosely based on Banastre Tarleton, commander of Tarleton’s Raiders during the Southern Campaign. The film of course allows Gibson to carry on his over-the-top vendetta against all things English. No, the British did not lock up American civilians in churches and burn them alive. However, the ferocity of the partisan fighting in the South is well depicted, and Banastre Tarleton at the Waxhaw Massacre earned a reputation for slaughtering men attempting to surrender. The final battle of the film is based on the battle of Cowpens where General Daniel Morgan decisively defeated Tarleton.
6. Drums Along the Mohawk (1939)-A John Ford classic starring Henry Fonda and Claudette Colbert. Through the eyes of a young newlywed couple, Fonda and Colbert, the American Revolution on the frontier is depicted in the strategic Mohawk Valley. Full of the usual Ford touches of heroism, humor and ordinary life. Continue reading
If there is a forgotten theater where American troops fought in World War II, it is most definitely the Aleutians. The Japanese took Attu and Kiska, islands in the Aleutian chain, in June of 1942, to forestall the Aleutians being used as a base for a move on the Japanese Home Islands from the Aleutians. Due to the rugged weather conditions, the US had never seriously entertained using the Aleutians as a staging area for future offensives. However, Attu and Kiska were American territory, and national pride, as well as alarm from the Alaskan territorial government, made inevitable an American campaign to take back the strategically worthless islands. Continue reading
Continuing our series on screen portrayals of Pilate that I began in 2011 during Holy Week. The posts on portrayals of Pilate by Rod Steiger, Richard Boone, Barry Dennen, Hristov Shopov, Telly Savalas and Frank Thring may be read here, here, here, here here and here.
Stephen Russell portrays Pilate in The Gospel of John (2003) which is a straight forward no frills presentation of the Gospel of John. As in the Gospel of John Pilate is shown in the film as first curious about Jesus and then sympathetic to Jesus. He attempts to save Jesus by giving the mob a choice between Jesus and the bandit Barabbas. When that fails he presents Jesus after He has been beaten and utters the phrase Ecce Homo, Behold the Man. Continue reading
He had been to touch the great death, and found that, after all, it was but the great death. He was a man.
The Red Badge of Courage, Stephen Crane
I recently was watching The Red Badge of Courage, (1951) and I was struck yet again by what a forgotten masterpiece it is. Filmed in stark black and white, the film has almost a documentary feel to it, as if a World War II era newsreel camera had magically transplanted itself to the Civil War. The combat scenes are highly realistic depictions of Civil War combat, and the actors speak and act like Civil War soldiers and not like 1951 actors dressed up in Civil War costumes.
As one critic said at the time, watching the film is like watching a Matthew Brady photograph of the Civil War come to life.
It was a stroke of genius for director John Huston to have as star of his film Audie Murphy, as the youth who, in Stephen Crane’s unforgettable novel, has his first taste of combat in the Civil War. Murphy looked like a typical Hollywood “pretty boy” but he was anything but. From a family of 12 in Texas, Murphy had dropped out of school in the fifth grade to support his family after his father ran off. His mother died in 1941. In 1942 he enlisted in the Army at 16, lying about his birthday, partially to support his family and partially because he dreamed of a military career. By the end of the war, before his 19th birthday, he was a second lieutenant and had earned in hellish combat a Medal of Honor, a Distinguished Service Cross, two Silver Stars, a Legion of Merit, a French Legion of Honor, a French Croix de Guerre, a Belgian Croix de Guerre, two Bronze Stars and three Purple Hearts. He was the most decorated soldier of the US Army in World War 2.
Murphy’s co-star in the film was also an Army combat veteran, Bill Mauldin, the famed cartoonist who drew the Willie and Joe cartoons in Stars and Stripes, the Army newspaper, during World War II. Continue reading
This is a joint post with commenter Dr. Peter Dans. Pete has written a fine book which I will be reviewing, Christians in the Movies, A Century of Saints and Sinners, and he has given suggestions about films to watch while we are waiting to shout Habemus Papam. Here are the films in Chronological order of the Pope depicted:
1. Quo Vadis (1951)-The historical spectacle film to end historical spectacle films, it brings to the screen the novel by Henryk Sienkiewicz of the persecution of Christians under Nero. The film is a great work of Art with inspired performances by Peter Ustinov as Nero, Robert Taylor as the tough Roman legate Marcus Vinicius who finds himself, very much against his will, becoming a Christian from his love of the Christian Lygia, portrayed by Deborah Kerr, and Leo Genn, as Petronius, the uncle of Vinicius and Nero’s “arbiter of taste”, who wounds Nero to the core with the following suicide note:
To Nero, Emperor of Rome, Master of the World, Divine Pontiff. I know that my death will be a disappointment to you, since you wished to render me this service yourself. To be born in your reign is a miscalculation; but to die in it is a joy. I can forgive you for murdering your wife and your mother, for burning our beloved Rome, for befouling our fair country with the stench of your crimes. But one thing I cannot forgive – the boredom of having to listen to your verses, your second-rate songs, your mediocre performances. Adhere to your special gifts, Nero – murder and arson, betrayal and terror. Mutilate your subjects if you must; but with my last breath I beg you – do not mutilate the arts. Fare well, but compose no more music. Brutalize the people, but do not bore them, as you have bored to death your friend, the late Gaius Petronius.
Peter in the movie is portrayed by Finlay Currie. Here is the classic scene from the film that depicts Peter informed by Christ that He is going to Rome to be crucified a second time:
In the film he goes to the arena where the Christians are being murdered for the amusement of the crowds and cries out, “Here where Nero rules today, Christ shall rule forever!” The film movingly depicts Peter’s martyrdom, crucified upside down since he had stated that he was not worthy to have the same death as Christ.
2. Sign of the Pagan (1954) -Jack Palance, a great actor who was consistently underrated throughout his career, portrays Attila the Hun. Here we have depicted the meeting between Attila and Pope Leo the Great, portrayed by Leo Moroni, which convinces Attila to spare Rome.
3. Becket (1964)-A masterful, albeit heavily fictionalized retelling of the life of the “holy, blessed, martyr”. Here we have Archbishop Becket, Richard Burton, in exile having an interview with Pope Alexander III, Paolo Stoppa:
4. Francis of Assisi (1961)-A film biography of Saint Francis, ably acted by Bradford Dillman. Go here to see the depiction of the interview between Saint Francis and Pope Innocent III, the role assayed by Finlay Currie who was Peter in Quo Vadis. Dolores Hart had the role of Saint Clare in the film. She went on to become a nun. Pete has some information in regard to that:
It has the extra added attraction of an interesting backstory involving Dolores Hart, the actress who played Clare and later became a nun. She is now the Prioress of Regina Laudis Abbey which itself has an interesting backstory connecting back to the 1949 film Come to the Stable.
By the way, I sent her a copy of the book and she sent me a delightful note in 2009 saying that the documentation of the abbey’s founding and her journey was “absolutely on target” and that it made her want to read the whole book. Then she added “Said like a real actress.” I was especially touched when she said that she would keep me in her “heart and prayers.” I’m sure that has been a big help to me along the way. Continue reading
Something for the weekend. In the middle of winter it is no accident, as the Marxists used to say, that I have chosen for our musical selection the theme song from Lawrence of Arabia (1962). One of the last great historical epics, the film tells the tale of Colonel T.E. Lawrence’s involvement in the Arab uprising. It is largely historically inaccurate, although a magnificent story. One reason for the historical inaccuracy, other than the usual transmogrification of history in the hands of filmmakers, is that it relied too heavily on Lawrence’s war memoir Seven Pillars of Wisdom. Lawrence was a brilliant writer and a talented leader of guerrilla forces, but he never let a little thing like truth stand in the way of a good yarn. Continue reading
Film, at its best, can convey a hint of the overwhelming impact of religious faith on those who believe. For me, the best example of this is Jesus of Nazareth (1977), as amply demonstrated I think in the video clip above. When we read about Jesus in the Gospels it requires a leap of imagination to conjure up the scenes depicted. Some people are better at doing this than others. A good film can provide us with the emotional impact of the Gospels without the necessity of our providing the imagination to bring the event alive for us. The Church has long understood this. Hymn singing can also accomplish this, as do Passion Plays, as does the Rosary. God appeals to our souls, our hearts and our minds, and we make a mistake if we ever forget this.
The History Channel in March will have a miniseries that dramatizes portions of the Bible. Below is a trailer.
“I repose in this quiet and secluded spot, not from any natural preference for solitude, but finding other cemeteries limited as to race, by charter rules, I have chosen this that I might illustrate in my death the principles which I advocated through a long life, equality of man before his Creator.
Inscription on the Tombstone of Thaddeus Stevens
As regular readers of this blog know, I greatly enjoyed the film Lincoln and praised it for its overall historical accuracy. Go here to read my review. One of the many aspects of the film that I appreciated was Tommy Lee Jones’ portrayal of Thaddeus Stevens (R.Pa.), a radical Republican who rose from poverty to become the leader of the abolitionists in the House, and one of the most powerful men in the country from 1861 to his death in 1868. There haven’t been many screen portrayals of Stevens, but they illustrate how perceptions of Stevens have shifted based upon perceptions of Reconstruction and civil rights for blacks.
The above is an excellent video on the subject.
The 1915 film Birth of a Nation, has a barely concealed portrayal of Stevens under the name of Congressman Austin Stoneman, the white mentor of mulatto Silas Lynch, the villain of the film, who makes himself virtual dictator of South Carolina until he is toppled by heroic Klansmen. The film was in line with the Lost Cause mythology that portrayed Reconstruction as a tragic crime that imposed governments made up of ignorant blacks and scheming Yankee carpetbaggers upon the South. This was the predominant view of scholarly opinion at the time. The film was attacked by both the NAACP and the Grand Army of the Republic, the Union veterans’ organization, as being untrue to history, a glorification of mob violence and racist.
By 1942 when the film Tennessee Johnson was made, we see a substantial shift in the portrayal of Stevens. Played by veteran actor Lionel Barrymore, best know today for his portrayal of Mr. Potter in It’s a Wonderful Life, Stevens is portrayed as a fanatic out to punish the South and fearful that the too lenient, in his view, treatment of the South in Reconstruction will lead to a new Civil War. This leads up to the climax of the film, the trial in the Senate of Johnson, with Stevens as the leader of the House delegation prosecuting Johnson, with Johnson staying in office by one vote. The portrayal of Stevens is not one-dimensional. Stevens is shown as basically a good, if curmudgeonly, man, consumed by fears of a new Civil War and wishing to help the newly emancipated slaves, albeit wrong in his desire to punish the South. Like Birth of a Nation, Tennessee Johnson reflected the scholarly consensus of the day which still painted Reconstruction in a negative light, although not as negative as in 1915. Additionally, the issue of contemporary civil rights for blacks was beginning to emerge outside of the black community as an issue, and Stevens in the film is not attacked on his insistence for civil rights for blacks. Continue reading
Well, on Saturday I went with my family to see Lincoln. Considering that the screenplay was written by Tony Kushner and the film directed by Steven Spielberg, I wasn’t expecting much. I wouldn’t have been totally surprised to see something along the lines of “Gay Illinois Lincoln and the Confederacy of Doom!’. Instead I was pleasantly surprised by the film. It is a great film and perhaps a minor masterpiece. It is definitely one of the finest screen representations I have ever seen of Lincoln, and it is a worthy tribute to the Great Emancipator. Read below for the rest of my review, and the usual caveat regarding spoilers is in full force. Continue reading
to care for him who shall have borne the battle
During World War II director John Huston produced three films for the US government. Let There Be Light was shot for the Army Signal Corps. It covers the treatment of 75 US soldiers traumatized by their combat experiences in World War II. The film is narrated by Walter Huston, the academy award-winning actor father of John Huston. The Army brass did not like the finished product, thinking that its focus on men who suffered psychological damage from their service could be demoralizing to the troops, and banned the film on the grounds that it invaded the privacy of the soldiers featured in the film and that the releases they signed had been lost. (This reason was pretextual, but as a matter of law I would not place any reliance on a release signed by someone undergoing mental treatment standing up for an instant in court.) Continue reading