Gibson to work a hackneyed heart tug into the film, which by this time has either got you with its concept of humane conquest or it hasn't got you at all. That is the flummery at the end that has the barely communicative youngster signaling a handy "I love you" to the nurse. Andrew Prine is impressively malicious and caustic as a grownup half-brother.On one point, we file a strong objection. Penn, who directed with great vigor, has also let Victor Jory play the father of the child a bit too harshly and loudly for the already loud tone of the whole, and Inga Swenson performs the mother a bit too softly and winsomely, in turn. Inevitably, the young actress has grown since she did the play and she now is a shade too uncomfortably formidable as an adversary for the nurse.Mr. And little Miss Duke, in those moments when she frantically pantomimes her bewilderment and desperate groping, is both gruesome and pitiable. This is the disadvantage of so much energy.However, Miss Bancroft's performance does bring to life and reveal a wondrous woman with great humor and compassion as well as athletic skill. Thus the bruising encounters between the two, even from their first meeting-the knock-down-and-drag-out fights in which the child wildly bucks against the efforts of the nurse to reach her mind with crude hand signs-are intensely significant of the drama and do excite strong emotional response.But the very intensity of them and the fact that it is hard to see the difference between the violent struggle to force the child to obey (which is the nurse's first big achievement) and the violent struggle to make her comprehend words makes for sameness in these encounters and eventually an exhausting monotony. It will take miraculous skill and energy. It is clear that the bold decision the stalwart young Annie makes when she arrives at the Southern home of the Kellers to try to train their desperately afflicted child is that she must go about it with the brute force one would apply to the breaking of a head-strong colt.To "disinter the soul" of the youngster from the depths of the little animal that darkness and silence since infancy have cruelly made of her, the nurse sees it will take more than patience.
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One may well feel that Annie has just been winner in three falls out of five.This has advantages and disadvantages in working toward the aim of a powerful emotional experience, which is the obvious object of the film. The picture opened at the Astor and the Trans-Lux Fifty-second Street yesterday.But because the physical encounters between the two in their strongly graphic roles of trained nurse and deaf-and-blind pupil seem to be more frequent and prolonged than they were in the play and are shown in close-ups, which dump the passion and violence right into your lap, the sheer rough-and-tumble of the drama becomes more dominant than it was on the stage.Indeed, one may well leave this picture with the feeling that the triumph achieved by Annie Sullivan with the child Helen Keller (which are the roles the two actresses play) was more a matter of muscle over sinew than of a strong mind over a raw, young, uncurbed will. There's one argument in favour of the return to (up to) 10 nominees for the big prize! I digress, though The Miracle Worker is a fine film and may well have cast the die for future "inspirational caregiver, teacher, etc." films.THE absolutely tremendous and unforgettable display of physically powerful acting that Anne Bancroft and Patty Duke put on in William Gibson's stage play "The Miracle Worker" is repeated by them in the film made from it by the same producer, Fred Coe, and the same director, Arthur Penn. Lawrence of Arabia (winner), To Kill a Mockingbird, Mutiny on the Bounty, The Music Man and The Longest Day got that nomination, which means that other great films like The Manchurian Candidate, Days of Wine and Roses, Long Day's Journey Into Night and Birdman of Alcatraz also didn't get the nod. given that it's largely a two-hander of a script, it kind of makes you wonder how it wasn't nominated for Best Picture, too, but 1962 was a deep year. Definitely see it once, it's a classic, winner of Best Actress and Best Supporting Actress Oscars. Stark and powerful, even if it slows into a somewhat repetitive groove after a while. It struck me as unusual for a film of its era to start SO in media res, with the stakes already so high and the parents already so distraught, but it's for the better.
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Intense from the get-go, in both style and acting still cinematographically modern in a lot of ways and dominated by a fiery performance by Anne Bancroft.