The Mind of Mr. Soames is preternaturally gentle (which, getting ahead of myself, is kind of the point) but it’s always a surprise how much more gentle it can get. The film doesn’t forebode or foreshadow, even though doing either wouldn’t just be predictable, it might even be appropriate given the subject matter.

The film opens at a private British medical institute, where everyone is very excited because they’re going to operate on star patient Mr. Soames (played by Terence Stamp). Stamp was born comatose due to a super-rare condition in his brain stem and this institute has kept him alive for thirty years. They’ve been waiting for medical science to get to a place where it can help Stamp. And it has. American surgeon Robert Vaughan (sporting a very cool beard) crosses the pond to do it. He’s not interested in Stamp’s recovery process, just the surgery.

At least, not until he realizes Davenport wants to train Stamp like a pet, not raise him like a child. Because even though Stamp’s got an adult brain, he’s pristine tabula rasa.

Also in the mix is scuzzy TV journalist Christian Roberts. He’s got Davenport’s permission to turn Stamp’s “childhood” into a documentary series. Part of the film’s gentle is how much the filmmakers trust the audience. The script trusts them to keep up, director Cooke trusts them to keep up—a big thing in the first act is American doctor Vaughan realizing British doctor Davenport is less concerned with Stamp recovering than with him making the Institute famous. But it never comes up. The whole arc of the film turns out to involve Donal Donnelly as Davenport’s underling, who gradually learns how to be a good doctor. Vaughan’s a big influence on him, but so’s Stamp.

Even though it’s almost a spoiler how much agency Stamp gets in the film given he starts it inanimate, kept alive by a roomful of machines. When Mind starts, it’s a split between Vaughan, Davenport, and Roberts, with Donnelly bouncing between Vaughan and Davenport. But once Stamp wakes up, the film starts its gradual transition into being his story.

It’s a great film, but it’s very hard to imagine it being able to do any more than it already does. Stamp eventually encounters all sorts of other people—most importantly kindly (potentially too kindly) miserable housewife Judy Parfitt—and Mind treats them as caricatures. Only Stamp, with this necessarily reduced agency and potential of it, gets to be a full-fledged character. These people he encounters are caricatures from his perspective, but from the film’s, which I guess is where the only real problems (outside the wrong closing music) occur. Everyone relies on Stamp to handle his perspective, which is understandable, he’s phenomenal. But if the film adjusted the narrative distance to track Stamp more closely, it’d necessarily lose the doctors.

Mind of Mr. Soames can’t be a character study, but it also can’t be a medical thriller because it can’t maintain the medical procedural. It also can’t do straight drama because it’s got a speculative air to it. Director Cooke does that gentle thing instead of trying to hit various intensities. It’s never calm, it’s never placid, it’s just gentle. Mind is based on a novel and there’s definitely the potential for some sort of comparison to Frankenstein, maybe with the book but definitely with the film; whether or not Stamp is going to go Frankenstein is one of the film’s many questions, but never one of Stamp’s and it’s Stamp’s film.

The film doesn’t exactly have charm—it’s too intense, stakes-wise—and it’s never overly stylish, but the deliberate but still surprising way the narrative unfolds is rather agreeable. Mind of Mr. Soames does a lot, provides its cast a lot of great scenes, and it’s not an easy story to do. So when it works out so well… not charming, but nice.

It’s a story very well told.

Outside the occasionally too obviously shot in the studio night time exteriors, Billy Williams’s photography is always good. The actual exterior shooting—when Stamp and the film get outside his “playroom”—is excellent. Really strong direction from Cooke, both with the actors and the composition. The film seems to get a certain patience from Cooke, while it gets a different one from John Hale and Edward Simpson’s script; the story’s about agitated people but the story’s never agitated.

Pretty good music from Michael Dress (except the closing track, which is fine but not good enough for what the film has just accomplished).

Great performance from Stamp (you can’t imagine anyone else in the role after he does it). Excellent support from Vaughan, Davenport, and Donnelly. They’re ahead the other caricatures because, well, they get enough time not to be caricatures.

Stamp, Cooke, and everyone else make something special with The Mind of Mr. Soames.

★★★½

CREDITS

Directed by Alan Cooke; screenplay by John Hale and Edward Simpson, based on the novel by Charles Eric Maine; lighting cameraman, Billy Williams; edited by Bill Blunden; music by Michael Dress; production designer, Bill Constable; produced by Max Rosenberg and Milton Subotsky; released by Columbia Pictures.

Starring Terence Stamp (John Soames), Robert Vaughn (Dr. Bergen), Nigel Davenport (Dr. Maitland), Christian Roberts (Thomas Fleming), Donal Donnelly (Joe Allan), Norman Jones (Davis), Dan Jackson (Nicholls), and Judy Parfitt (Jenny Bannerman).