I recently re-watched Michael Crichton‘s COMA (1978) and was pleasantly surprised by how effective the film still was. You can read my full take on the film at the Movie Morlocks but here’s an excerpt:
Taking its cues from films like Roman Polanski’s ROSEMARY’S BABY (1968) and Bryan Forbes’s THE STEPFORD WIVES (1975), COMA uses elements of fantasy, science fiction and horror to ask important questions about gender inequality as well as office politics in the wake of the sexual revolution. Today COMA might seem somewhat outdated in its broad portrayal of gender biases (or incredibly pertinent depending on your social outlook) but it’s important to remember that Roe v. Wade was only 4 years old at the time that COMA was made and the medical field was still largely a man’s world where women were destined to take nursing positions.
Bujold’s character is expected to follow orders and her handsome boyfriend (Michael Douglas) seems determined to keep her in line but throughout the film Bujold rejects every attempt to confine her and her ideas. Is Bujold just an emotionally unstable woman trying to blame the hospital for her friend’s medical dilemma? Or are the coma victims pawns in some sinister plan being executed by a Hippocratic brotherhood? I may have given too much of the movie’s basic plot line away but COMA has plenty of unexpected twists and turns that should appeal to mystery and horror enthusiasts as well as science fiction fans.
You can find my full post at the Movie Morlocks
– Going Under: Revisiting COMA (1978) @ TCM’s Movie Morlocks