Michael Crichton's "Coma" Thrills

Geneviève Bujold as Dr. Wheeler.

Bestselling author Michael Crichton (Jurassic Park, The Andromeda Strain) directed seven films during his career. They ranged from very good (Westworld, The Great Train Robbery) to very lame (Looker, Physical Evidence). From a directorial perspective, his best work may be Coma (1978), a smart medical thriller which Crichton also adapted from the popular novel by his friend Robin Cook.

Geneviève Bujold stars as Dr. Susan Wheeler, an accomplished surgeon at a progressive Boston Hospital. After her best friend becomes brain dead following a routine abortion, Susan makes a startling discovery. She learns that a statistically high number of hospital patients have fallen into comas and then transferred to a mysterious facility called The Jefferson Institute. She shares her findings with her boyfriend (Michael Douglas), an ambitious fellow surgeon, and her department head (Richard Widmark). Both men dismiss Susan's concerns and imply, in a condescending manner, that Susan is being too emotional because of her friend's death. 

Michael Douglas as Mark.

Crichton's screenplay works well as both social commentary and paranoid mystery. As one of the few female doctors in the hospital, Susan has to work harder than her male counterparts. She is hampered by her unwillingness to play the "politics game"--unlike her boyfriend Mark, who lobbies blatantly for a promotion. 

Bujold comes across as cold at times, which makes her character both interesting and distant. It's an effective contrast to Michael Douglas, who makes Mark likable and supportive (well, up to a degree...his main focus is always on himself). In fact, Douglas is so good that one can't be sure whether Mark is a good guy or a bad guy heading into the climax.

Crichton can't cover all the film's weaknesses, of course. Any mystery movie buff will recognize that a key part of Cook's plot was lifted from the 1946 classic Green for Danger. As with many movies with hospital settings, there is an abundance of empty, darkly-lit hallways and rooms (apparently, there is no night staff). And, worst of all, the family of Susan's friend is never shown--apparently, her husband doesn't care that his wife is brain dead and has been shuffled off to another facility.

However, those are minor complaints about a satisfying thriller. Crichton flashes his writing talent with a delightful scene in which a pair of pathologists argue about the best way to murder someone without evidence appearing during the autopsy. It infuses some much needed dark humor at the perfect time. Later, Crichton shows his visual flair with a scene inside the Jefferson Institute that shows dozens of comatose bodies hanging helplessly from the ceiling on wires.

It's also worth noting that Michael Crichton packs the hospital scenes with overlapping "medical speak." It's a sound technique that gives those scene a realistic, vibrant feel. It reminded me of the highly-regarded pilot of the 1994-2009 TV series ER. That should come as no surprise, as the show's creator and pilot screenwriter was...Michael Crichton.