After a stint at RKO, director Charles Vidor accepted an offer from Paramount.
Vidor's first assignment at his new studio was a somewhat daring movie entitled A Doctor's Diary (1937), a savagely derisive exposé of conventional medical ethics, fairly screaming with complaints that exposed an underbelly of inept treatments and many a faulty diagnosis.
In fact, A Doctor's Diary fairly screamed with vigorous accounts of improper treatments, false diagnosis and other such hospital anecdotes that so-called upright members of the medical profession -- especially the doctors' fraternity -- steadfastly refrain even from mentioning.
Producer B.P. Schulberg has staffed this movie almost entirely with unknown players such as John Trent, a TWA transport pilot; Ruth Coleman, a commercial artists' model; and Helen Burgess, a stock player.
Sidney Blackmer is the villain, but, needless to say, all ends happily, if somewhat unethically.
Charles Vidor's direction is suitably ponderous, driving every point home with vigor rather than subtlety.
Vidor's first assignment at his new studio was a somewhat daring movie entitled A Doctor's Diary (1937), a savagely derisive exposé of conventional medical ethics, fairly screaming with complaints that exposed an underbelly of inept treatments and many a faulty diagnosis.
In fact, A Doctor's Diary fairly screamed with vigorous accounts of improper treatments, false diagnosis and other such hospital anecdotes that so-called upright members of the medical profession -- especially the doctors' fraternity -- steadfastly refrain even from mentioning.
Producer B.P. Schulberg has staffed this movie almost entirely with unknown players such as John Trent, a TWA transport pilot; Ruth Coleman, a commercial artists' model; and Helen Burgess, a stock player.
Sidney Blackmer is the villain, but, needless to say, all ends happily, if somewhat unethically.
Charles Vidor's direction is suitably ponderous, driving every point home with vigor rather than subtlety.
