The lengthy dining room struggle alone would make any movie worth watching - it is worthwhile even beyond the interesting action itself, as it brings out aspects of human nature and human learning that go beyond even Helen's own trials. The battle of wills and wits between the two is engrossing, becoming quite involved and very interesting.
The story itself is so good that even the lesser remakes have been worth seeing, but there is really no reason at all to look any further than this nearly flawless filming of the story.Īs Annie Sullivan and Helen Keller, Anne Bancroft and Patty Duke could not have been better. With two terrific leading performances, an absorbing and thought-provoking story, and many well-conceived touches by Arthur Penn and his production team, this classic version of "The Miracle Worker" is an exceptional movie that appeals to the imagination and that has much to say about humanity. It continues to live in my memory as a work of art that has rarely been equalled before - or since - on screen. The Miracle Worker is a story and film portraying real human courage, patience and individual, personal will. It is a film which breathes life - and it is especially brought to life by two of the best actresses America has ever produced. Duke, Bancroft and Penn worked beatifully to create this incredibly touching masterpiece of dramatic filmmaking, which is not without its moments of "comedy," as all fine dramas are capable of conveying. It's an absolutely astonishing, "can't take your eyes off it," moment of celluloid. I dare anyone to even breathe during the climactic water pump scene when teacher Annie Sullivan finally "connects" and communicates with her "unreachable" charge, the deaf, blind, young Helen Keller. Although much has been written about 11-minute breakfast donneybrook, which is certainly wonderful cinema to behold, the entire film is breathtaking from opening credits to the final scenes. It is a film about the undaunted human spirit and our need to communicate.
Bancroft and Duke deliver A-plus, no bones about it, top-drawer, performances. Finally, one would be hard pressed to think of another film that so exquisitely defines the term "2-character" study. The film, in stark, black and white, speaks total reality to the film audience of 1962 - and, of course, well beyond that year. Intelligent, austere direction by Arthur Penn (one of the true gentlemen and masters of the American cinema) Penn had the sense to retain the inate artistry and grit of the original stage play and simply allow the camera to capture the actors' intuitive - albeit, well rehearsed, performances, recreating their stage roles which generated an unheard-of 19 curtain calls when it first graced the stage in its Philadephia opening. Brilliantly inspired writing by William Gibson, from his equally inspired play. This is the kind of filmmaking that prompted me to fall in love with the movies. Although I am a long-time Patty Duke admirer, and thus far from objective, this film still stands the test of time.
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