This 1966 comedy by Warner Brothers pretty much nailed the fad of "free love" from the sexual revolution. Sean Connery plays Samson Shillitoe, a divorcée who's remarried. But he accommodates other women as well – any and all, who come on to him. It's definitely not a family film, and not much of a comedy either. The only reason I could see Connery and Joanne Woodward (who plays Rhoda Shillitoe) doing this film is for their roles. They are very good at these diverse, different characters, and show their acting talent. But for their excellent acting, "A Fine Madness" wouldn't rate more than one star. The screenplay is downright terrible, and the story has more holes than a slice of Swiss cheese. Comedies are supposed to make one laugh, but this one fails on that score as well.

If ever there was an award given out for "Most Outrageously, Sexist-Minded Film Ever (of the 1960s, that is)", I think that A Fine Madness would, most definitely, be a sure-fire winner.And, with that said - If you are, indeed, a total feminist (or a feminist-hugger), I guarantee you that frequent key moments throughout this utterly absurd comedy will surely get your dander up like no other film from that era ever has. (I'm not kidding about this, folks!) Of course, in order to get any sort of real entertainment value out of A Fine Madness's story one must keep it firmly in mind that here is a film that is a complete product of its time. This is a picture that proudly beats its chest and clearly states that "Hey! This is a man's world!" (so if you're a woman you better like it, or lump it).In my opinion - A Fine Madness was solely made to cash-in on Sean Connery's rugged animal magnetism and his equally virile screen-charisma (following his huge success playing James Bond in 1965's "Thunderball").So, just be warned - If you're prone to detest a lead character who just happens to be nothing but a boozing, womanizing, wife-beating, loudmouth with a hair-trigger temper, then, believe me, you're probably not likely to find this comedy to be much of a laughing matter, in the long run.

The idea that free-spirited creativity is a social disorder that must be cured by a well-meaning but thoroughly incompetent psychiatric establishment is the theme here, and one quite familiar to anybody who has seen One Flew Over the Cuckoo's Nest. Sean Connery was a great choice to play a blocked, womanizing writer at the core of the drama and he centers the film with his amiable exuberance. Comparisons to Cuckoo's Nest are inevitable, and this film lacks the other's stifling power and resonance, but it shares a common vision of the psychiatric profession acting as a microcosm of authoritarian abuses in society at large. Still, this is a funny and charming, much lighter satire on the same subject, energetically directed by Irvin Kirschner, and enjoyable for Connery fans in any case.

As a poet who is institutionalized, Sean Connery distances himself quite grandly from screen alter-ego James Bond. Connery is unexpectedly gregarious as the avant-garde writer, Joanne Woodard is suitably shrill as his spouse, the supporting cast (including Jean Seberg and the wonderful Zohra Lampert) is terrific, but this is an extremely bumpy, frantic piece on challenging the system. Director Irvin Kershner has always been a little erratic, and his shifts in tone take a while to get used to. The script, from Elliot Baker's novel, is uneven, yet the film certainly looks good, with handsome photography and fine use of New York locations. Often gets confused with "They Might Be Giants", another comedy which also co-starred Joanne Woodward and dealt with a certain madness. ** from ****