By JOHN J. O'CONNOR
Published: September 30, 1984
Doctors and nurses are the very stuff of television uplift. From ''Dr. Kildare'' and ''Marcus Welby, M.D.'' to ''Nurse'' and ''St. Elsewhere,'' the medical profession has furnished scriptwriters with a seemingly endless flow of selfless dedication in the face of awesome life-and-death crises. Even television comedies such as ''M*A*S*H'' or the current ''E/R'' have carefully mixed their laugh tracks with basic respect and admiration.
Meanwhile, few of us are not familiar with hospital disaster stories, the kind that may involve a confused patient being prepared for, and possibly given, the wrong operation. Nurses have been known to smirk at the pretensions and questionable practices of some doctors. And I know of at least one doctor who, when a close relative is hospitalized, bars nurses from the patient's room, convinced that they are likely to get the prescribed medications wrong. All of which might be filed under the always safe observation of ''nobody's perfect.'' Such reservations are pointedly avoided, however, in the indictments leveled in ''Heartsounds,'' the TV movie that stars Mary Tyler Moore and James Garner on ABC tonight at 9.
Fay Kanin's script is based on a book written by Martha Weinman Lear. Published in 1980, the story tells how Mrs. Lear's husband Hal spent the final five years of his life after suffering a massive heart attack in 1973. In many respects, Martha and Hal are not your average couple. He was a successful doctor, a urologist, in Hartford, before coming to New York to set up an experimental program in sex therapy at a major hospital. He was divorced and had two children when he married Martha in the early 1960's. She is about 10 years younger than Hal and has worked in various editorial and freelance writing capacities for publications that include The New York Times. His first heart attack occurs when she is working on an assignment in Italy. An editor suggests that she keep a written record of the entire experience. When friends discover she is taking voluminous notes, it isn't difficult to conclude that there must be a book lurking somewhere down the road.
On its most immediate level, ''Heartsounds'' is a love story about two people completely attached to each other. Life is generally good and fulfilling. She likes her work, occasionally getting involved in mildly feminist issues. He is adored by the patients he has helped. The roles of doctor and doctor's wife have their social and economic compensations. On the other hand, she is a New Yorker who does not like living in the ''boondocks'' of Connecticut and that may have had something to do with his taking on the sex project in Manhattan, a project that did not bring the professional advancement that he had been promised. That disappointment, along with a family history of heart problems, was almost certainly a factor in his illness.
When the heart attack strikes, it quickly becomes apparent that Hal and Martha are not the sort of people to go quietly into just any good night. He knows immediately what is happening as, alone in his apartment, some chest discomfort that he at first assumes to be little more than heartburn slowly begins triggering severe pains, mild sweating and a weakened pulse. Unable to get help by phone, he puts on his robe, stumbles to the house elevator and gets the doorman to rush him to the hospital, knowing that he is in serious trouble and that there is no time to wait for an ambulance. The sequence is harrowing, and Mr. Garner is frighteningly convincing. Meanwhile, Martha, reached in Italy, begins rushing home in terror, compiling a list of questions on how to deal with this unanticipated threat to her happiness. She quickly learns, however, that the doctors attending her husband do not necessarily appreciate questions. Their typical attitude is a paternalistic, ''Don't worry, I'll keep you informed.''
But, again, this is not your average couple. With his own medical background, Hal is capable of diagnosing his own symptoms and second-guessing the various experts around him. Martha's background in journalism has trained her to do the appropriate research and pose the uncomfortable questions. His will to live is formidable. Her desire to have him live is just about unrelenting. Together, they can hardly be ignored. Yet, even for their most ardent sympathizers, they can become impossibly annoying and demanding. But their view of themselves and the medical profession has an unflinching clarity. Mrs. Lear's overriding point is simple: ''When a doctor becomes a patient, his perceptions turn inside out.'' Hal finds that other doctors become peripheral figures in the process of recovery, stopping by the bed for a few minutes each day with their familiar questions and incessant prodding, usually performed for the benefit of obsequious interns. Nurses, on the other hand, are seen as true angels of mercy, their passing touches of kindness being of inestimable value to flagging spirits.
Hal's story becomes a veritable nightmare of faulty diagnoses, arrogant attitudes and peculiar ethics. Among the numerous problems recounted by Mrs. Lear is the unwillingness of doctors to blame each other for anything. She refers to this as the Old Boys' Hypocritic Oath. She follows her husband through a series of setbacks, including one harrowing episode where he believes he is on the verge of death in a hospital bed one night but is unable to get a doctor's help for eight hours. ''He begged, he pleaded,'' his wife recalls, ''but they wouldn't listen.'' She begins talking of an ''institutional madness.'' In fact, although the film is outspoken, it avoids some of the book's more specific charges. It does not retain Mrs. Lear's conclusion after that eight-hour experience: ''I marveled, as I had before: He is a doctor; he is white and middle- class; he has a wife who can make demands in his name; he is a private-room patient in a great medical institution; he is gravely sick; what the bloody hell goes on in the wards?''
In purely dramatic terms, ''Heartsounds'' begins to sag about two-thirds of the way through as the ending becomes apparent and the story settles into a succession of inevitable crises. Nevertheless, the film packs something of the wallop of a powerful and unblinking documentary. With superb performances from Miss Moore and Mr. Garner, the highs as well as the lows of the couple's love story survive beautifully intact. And the unusual view of a profession that too often is handled with surgical gloves is refreshingly provocative. Glenn Jordan directed. The executive director is Norman Lear, one of Hal Lear's cousins.
Heartsounds (1984) TV Movie
Cast: Mary Tyler Moore, James Garner, Sam Wanamaker, Wendy Crewson, David Gardner, Carl Marotte, Wayne Best, Anthony Bishop, David Bolt, David Clement, Beverly Cooper, Eve Crawford, Sandy Crawley, Marvin Goldhar, Lynne Gorman
Seeing this simply described around the internet as "A retrospective of the 1961-66 sitcom starring Dick Van Dyke and Mary Tyler Moore" is inadequate. Much more fun than you might expect (especially from that description) and hosted by the stalwart Charles Kuralt, this will be a fun watch for anyone who has ever crushed on MTM.
In one of the most startling examples of "playing against type" in TV history, beloved sitcom icon Mary Tyler Moore stars as Sante Chamber Kimes, a woman who was accurately described during her trial for murder as "...a sociopath of unremitting violence, the most remorseless degenerate ever to appear in this courtroom..." Based on a true story, this CBS TV movie details the events leading up to the killing of wealthy, lonely socialite Irene Silverman, a murder orchestrated by the evil-incarnate Sante and carried out by her loving son Kenny. The film is unsparing in its depiction of the coldblooded, sexually promiscuous Sante, who throughout her life managed to wheedle and manipulate other people to do her bidding, no matter how odious and repellant that bidding was. Without giving away the film's ending, it is a matter of record that, as of this writing, Sante and Kenny Kimes are serving prison terms with a combined total of 246 years. Like Mother, Like Son: The Strange Story of Sante and Kenny Kimes was originally broadcast on May 20, 2001. ~ Hal Erickson, Rovi
NBC correspondent Betty Rollin's book about her own mastectomy was adapted for television by Carmen Culver. Mary Tyler Moore plays Ms. Rollins, who discovers after her breast surgery that her "loving" husband (Anthony Perkins) is a cad who can't withstand the pressure of living with a woman in dire need of emotional support. Thankfully, Ms. Rollins is able to begin a new life with the tender, compassionate man (Richard Crenna) who's loved her all along. Unfortunately, the rest of the film is just as simplistic as its romantic angle. Despite Mary Tyler Moore's consummate performance, First You Cry (originally telecast November 8, 1978) is better read than seen. ~ Hal Erickson, Rovi
Two hours of goodness from the same folks that brought us the First Annual Comedy Hall of Fame.
After a messy divorce with her very rich and powerful husband, Nora Wilde refuses to accept his offer.
Tons of fun for us fans, MTM was one of the supreme queens of TV comedy.
Long form celeb interview show hosted by Sarah Purcell.
Two hour special hosted by Mary Tyler Moore. Great stuff, tons of memories.
People Magazine presents its retrospective of the most interesting people and events of 1995.
Newlyweds Anne and Nick McGuire both bring a great deal of personal history to their marriage.
Mary Tyler Moore's 1985 return to primetime featured a wonderful supporting cast (Katey Sagal, John Astin, James Farantino) and a familiar setting. Mary was back in the newsroom and this time she played a consumer advocate for a Chicago paper.
'HEARTSOUNDS' TAKES AN UNBLINKING LOOK AT DOCTORS
