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The Good Doctor
[Blu-ray]
Blu-ray A - America - Magnolia Pictures Review written by and copyright: Ethan Stevenson (27th June 2013). |
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The Film
 In “The Wisdom of Psychopaths: What Saints, Spies, and Serial Killers Can Teach Us About Success” psychologist and author Kevin Dutton argues that some professions attract psychopaths (and sociopaths) more than others. He makes some predictable claims—teachers and charity workers are among the least likely professions of a psychopath; lawyers, CEO's and journalists (ouch!) are among the most likely. But he also notes what I consider a few surprises. One of these surprises is in the odd dichotomy in the medical field. He differentiates between nurses (one of the 10 least likely), doctors (also less likely), and surgeons—who are interesting because the latter happen to be among what he considers the most probable psychopaths, not just in the medical field, but of all the professions listed in Dutton’s book, cracking the top 5 of his top 10. The surgeon psychopath seems an odd contradiction at first, if only because, like doctors and nurses (and teachers and charity workers), surgeons help people. They even save lives. But it’s more than that, and, I suppose, looking at it for even a second with a critical eye, it’s less contradictory, and even makes some sense that the profession would attract the sort. There’s immense power in what surgeons do. Save people, yes; but more so than the others, as they slice into vital tissue, they can end lives, too. Shape them and completely change them. Surgeons, in a way, play god. And society seems to view them and treat them to godlike high status. Certain perks are afforded to them—both within the medical field and out. If they happen to be of the “plastic” variety, surgeons are also entirely superficial in their obsession with appearances. Martin Blake (Orlando Bloom) is not a surgeon—he’s only just barely a doctor, fresh out of school, and newly emigrated from England to Southern California—but he too is a man caught up with appearances, attracted to the power he has over people while they’re under his care, and very much wishes to be part of an elite that has esteem both within and outside of the medical field. Martin demands respect from those around him, for no other reason than he has a title. At least for now, that title is simply Doctor—his stethoscope, white coat, and vintage brown leather doctor’s bag prove he’s one—and he’s convinced he deserves to be treated with respect. Of course, as a young resident, the nurses, his patients and even the other doctors don’t give him much, if any, of it. He lacks the experience that most of the nurses (including one played by Taraji P. Henson) have, looks too young to be taken seriously by the mostly older patients in his care, and the other doctors… well, many of them—especially the hospital attending Dr. Waylans (Rob Morrow)—literally are his superiors (in more ways than one). The things is, appearances aside, Martin really isn’t much of a doctor. Or, he really isn’t that good of one; his bedside manner is basically nonexistent, and he feels many of the more basic procedures are beneath him. He sees his residency as an annoying stepping-stone, and has an eye on a position in the prestigious infectious disease unit. He cares more about getting there, and getting the perks, power, and respect such a position provides, than anything else—especially his patients. Martin has problems talking with those supposedly in his care, and the other doctors and staff, too, making enemies with not just the nurse played by Henson, but a janitor with a drug problem named Jimmy (Michael Peńa). He has a hard time connecting with anyone at all really, in part because he’s a stranger in a strange land. But he might also be a psychopath—an arrogant asshole who longs to hold power over others, but has no power to wield. Yet. The film takes a turn when its loner protagonist—a man so concerned with a status and image that he has yet to attain—finds a patient and, in a greater sense, a person, who not only respects his opinion, but also proves to be someone Martin can actually connect with. Martin becomes infatuated to the point of obsession. This patient is 18-year-old Diane Nixon (Riley Keough), a fair-haired maiden in need. In hospital for a relatively routine procedure, Martin soon finds himself messing with Diane’s meds to make her first more, and then less, and then more reliant on him. But when a series of unfortunate accidents—both directly and in directly the result of Martin’s meddling—leave not one, but two people dead, the good doctor finds himself facing a suspicious detective (J.K. Simmons) and a possible jail sentence. “The Good Doctor” is compelling because its central character is such an enigma. Martin might be a psychopath… but he could just as easily not be one, and is simply a strange soul caught up in a place he doesn’t really understand. The audience never really gets much of Martin’s back-story, and Bloom—who I’ve never particularly enjoyed as an actor, nor given much thought to his talent—plays the part so perfectly with a guarded, meek-manner façade hiding something perhaps more sinister underneath. Blake is clearly an isolated individual, but whether or not it’s a choice on his part, or a manifestation of his crippling shyness and self-doubt, is not always clear. Director Lance Daly and screenwriter John Enbom go to great strength to carry through the metaphor of isolation, with scenes staged in stark white rooms, where Blake is either alone, or separated to an extreme degree from everyone and everything. The few times he’s in a crowd, a sense of claustrophobia and suffocation clearly overpowers him and Martin recedes into himself even in a sea of people. Bloom is surprisingly good here as the isolated, nerdish, probable psychopath parading around as a “good” doctor. Director Daly and Enbom have crafted an interesting, well-structured, picture with some substance. Its major flaw, however, is that the film is a little too subtle, and too superficial, sometimes. And the pictures open-ended, freeze frame, ending will no doubt leave some viewers furious, wondering if Blake was truly evil, or simply a misguided and misunderstood good guy who made a few poor choices that had unfortunate consequences.
Video
“The Good Doctor’s” 1080p 24/fps AVC MPEG-4 encoded transfer—framed in 1.85:1 widescreen with thin letterboxing on the top and bottom of the frame—reflects the somewhat softer and grainier nature of the smaller-gauge 16mm format director Lance Daly and cinematographer Yaron Orbach used to photograph their film. Viewers shouldn’t expect the clarity or crispness of a 35mm or HD-video sourced production, but “Doctor” still looks quite good in high definition. There’s an interesting stark contrast between the sterility of the hospital setting (and Martin’s even more sparsely appointed, beach-front, apartment) and the gritty film stock, which I suppose is probably intentional. A sort of signifier of the ultra-real atmosphere that runs throughout the picture; one that offsets, and upsets, Martin’s overly idealized and artificial image of what his world should look, and be, like. The predominate color scheme is bleak, bleached, whites under harsh and cold fluorescent light. Splashes of color—bland blues and popping pinks of the staff scrubs, and the occasional spray of a blood red—are deliberately eye catching. Exteriors, the fleeting few that make an appearance in the film, are noticeably more vibrant; this too seems done with purpose—they’re moments of hope, of light, not at all the cold and depressive lonely halls of the hospital. Blacks are deep, but delineation remains excellent, with details like the patchwork of Martin’s ugly black-and-purple sport jacket he wears to a dinner party subtly apparent. The transfer is free of evidence of edge enhancement or DNR, and has no noticeable artifacts or any other distracting anomalies.
Audio
The disc features an understated English DTS-HD Master Audio 5.1 surround mix (48kHz/24-bit). The sound design of “Good Doctor” seems to suggest, much like the set design, a sense of isolation. The mix has clear and precise dialogue, but such subtle use of the surrounds—sparsely filled with atmospheric effects—that you really have to strain to hear the clatter and chatter of the hospital’s hallways, cafeteria, and even the party Martin attends early in the film. Brian Bryne’s subtle score works in a similar fashion, although occasionally the diegetic music—especially in an early scene where Martin turns the volume up during a desolate dinner at home alone—is more powerful. Optional subtitles in English and Spanish have also been included.
Extras
“The Good Doctor” is wholly deficient in the extras department. This is the type of film that really could’ve benefited from an audio commentary or a few lengthier featurettes. Sadly, however, that’s not the case and Magnolia has put together a small package of mostly superficial special features, including two short featurettes, a theatrical trailer and a few bonus trailers. The disc is also authored with optional bookmarks and a resume playback function. Typical of a Magnolia release, “The Good Doctor” is BD-LIVE enabled but has no content available at this time. “The Making of ‘The Good Doctor’” (1.85:1 widescreen 1080p, 9 minutes 54 seconds) is the primary supplement on this disc. Disappointingly brief, the featurette has Orlando Bloom, Riley Keough and others discussing their characters, the plot, etc. Heavy on recap and light on details of how the project came together, it lacks most of the essential elements of a more substantial making of. As the longest supplement on the disc, at just under 10 minutes, it’s really too superficial and too short to offer much of anything. Even less insightful is the second featurette, “AXS TV: A Look at ‘The Good Doctor’” (1.85:1 widescreen 1080p, 4 minutes 47 seconds), which is essentially an extended trailer for the film, with a few EPK-y sound bites from the cast and crew too. The film’s theatrical trailer (1.85:1 widescreen 1080p, 2 minutes 24 seconds) has been included. The disc also features the usual onslaught of pre-menu bonus trailers and promos for other films in the Magnolia catalog, including: - “V/H/S” (1.78:1 widescreen 1080p, 1 minute 47 seconds). - “Nature Calls” (2.40:1 widescreen 1080p, 2 minutes 20 seconds). - “Nobody Walks” (1.78:1 widescreen 1080p, 2 minutes 6 seconds). - “Compliance” (2.40:1 widescreen 1080p, 2 minutes 19 seconds). - "AXS.tv" promo (1080p, 31 seconds).
Packaging
Magnolia Home Entertainment brings “The Good Doctor” to Blu-ray in a simple package. The single-layered BD-25 is locked to Region A and comes housed in an Elite keep case.
Overall
“The Good Doctor” is a little too subtle, and too superficial, sometimes. But, perhaps, considering the same could be said for the main character, that’s the point? Bloom is very good, and the film is tastefully directed and smartly written. With very solid video—which reflects a gritty 16mm source—and reserved but serviceable lossless audio, and an anemic amount of special features, the Blu-ray release of “The Good Doctor” is recommended.
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