The President's Analyst

IMDb RATING

6.8/10

3.6K

YOUR RATING

James Coburn in The President's Analyst (1967)

When the overworked and stressed-out White House presidential shrink runs away, the CEA and the FBR scramble to retrieve him before he could be abducted by various competing foreign intelligence services.

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Satire Comedy Sci-Fi Thriller

A psychiatrist suddenly gets assigned to be the US president's shrink. Paranoid from the many spies tailing him in hope of kidnapping him, he runs away, and dozens of spies, and the FBI, CIA... Read allA psychiatrist suddenly gets assigned to be the US president's shrink. Paranoid from the many spies tailing him in hope of kidnapping him, he runs away, and dozens of spies, and the FBI, CIA, and various agencies scramble to retrieve him.A psychiatrist suddenly gets assigned to be the US president's shrink. Paranoid from the many spies tailing him in hope of kidnapping him, he runs away, and dozens of spies, and the FBI, CIA, and various agencies scramble to retrieve him.

See production info at IMDbPro

IMDb RATING

6.8/10

3.6K

YOUR RATING

See production info at IMDbPro

Awards
- 1 nomination

Trivia
In one scene being shot on the lower west side of New York City, James Coburn was being chased by two uniformed NYPD officers, who were just actors playing New York cops. Shouting "Stop, stop", they chased Coburn around a corner and he ran into a real NYPD officer, who dropped him with one blow from his nightstick. Coburn had to seek medical treatment, which postponed the filming for a time.

Goofs
Every line referring to the "FBR" or "CEA" is dubbed, often quite obviously. The actors were actually saying "FBI" and "CIA," but at the behest of the actual agencies the names were changed in post-production.

Quotes
V.I. Kydor Kropotkin: Logic is on our side: this isn't a case of a world struggle between two divergent ideologies, of different economic systems. Every day your country becomes more socialistic, my country becomes more capitalistic. Pretty soon we will meet in the middle and join hands. No, my dear doctor; you're going to defect because you want to live.

Crazy credits
Film disclaimer: 'This film has not been made with the consent or cooperation of the Federal Board of Regulations (F.B.R.) or the Central Enquires Agency (C.E.A.). Any resemblance to persons living or dead is purely coincidental, and so forth and so on.

Alternate versions
Due to a copyright dispute, all recent video and laserdisc releases omit a sequence featuring songs by Barry McGuire on the soundtrack.

Connections
Featured in Film Review: International Films (1968)

Soundtracks
Inner Manipulations
Composed by Barry McGuire and Paul Potash
Sung by Barry McGuire
(A Dunhill Records Artist)

User reviews70

Review

Featured review

9/10

Drugs, death and John Adams, too.

When James Coburn passed away in 2002, it was sad to see how little fanfare was generated by this event. Coburn's resume is as strong as any actor of the Sixties and Seventies. For almost a decade, Coburn played in some of the strangest and most unorthodox films of the era. Everyone knows that he capably spoofed the popular spy genre with his "Flint" films. But it wasn't until he became the President's analyst that he really hit his stride. The fabulous panoramic views of a pre-World Trade Center New York duel with the more grimy shots of the Manhattan Garment District. Look for a humorous assassination involving a knife and a clothing pushcart. Nostalgic observation: the New York Skyline appears the way it does on the New York Mets' uniform patch. The plot concerns the President's need for a head shrinker. Wanted: a man who can be trusted with the leader of the free world's secrets. Grandpa Walton (Will Gear) shows up as the President's prior therapist. He is wonderful as always. Edgy pop singer, Barry McGuire, plays a stoner with a catchy song on his acoustic guitar. One memorable sequence combines McGuire's tune (something about "changes") and a team of assassins in a field, attempting to kill our hero, Coburn. The killers use everything from guns to gas to blow darts. Even a net. In widescreen, the final shot of the movie resonates with a sly, satirical nod to the genre. The villain of the piece comes as a big surprise to anyone under the age of forty: think telephone exchanges and room-size computers. And mix. Bravo!