User reviews

After viewing this superior film, a viewer might wonder where in blazes the original idea came from; The Twilight Zone or ripped from todays headlines. This film is laden with so much talent I'm surprised it didn't establish itself as a mega movie. The premise is that of a talented lawyer, Aaron Levinsky, ably played by Richard Dreyfuss, who is forcibly thrust into a competency case which he does not want. His adversary is a formidably D.A, Francis MacMillan (Robert Webber) who has spent a considerable amount of time putting unwanted criminals and mental undesirables, behind bars. Thus he sees no reason why he should spend more time than necessary on a simple case of mental incompetency. Unfortunately for him the woman in question is spirited, independent Claudia Draper, (Barbra Streisand) who is desperate to have her day in court. Arrayed against her aside from the D.A. are her loving parents, Karl Malden as Arthur Kirk and Maureen Stapleton as Rose Kirk, who guard a terrible family secret. In addition, there is formidable Eli Wallach as Dr. Herbert A. Morrison, a psychiatrist who is convinced that Draper is insane. In Claudia's eyes, everyone seems hell bent on having her locked up in insane asylum. The courtroom drama is superior as Judge Stanley Murdoch, (James Whitmore ) tries to discover why the authorities want Draper incarcerated. A most convincing performance by all to create a memorable film. ****

Nuts is an adaptation of a stage play. Aaron Levinsky (Richard Dreyfuss) a public defendant is forced to take on a defendant being tried for competency.

The District Attorney (Robert Webber) sees this as a simple case of mental incompetency. The accused in question is playful, spirited and hard to handle. Claudia Draper (Barbra Streisand) is the high class call girl who is determined to prove that she is not nuts. Her parents are bemused but as we see from flashbacks there is a terrible family secret and Levinsky will need to discredit (Eli Wallach) the psychiatrist who is convinced that Draper is nuts.

Its hard to escape the film's stage-bound origins as a lot of the film consists of interior shots. In some ways this a courtroom play. Dreyfuss is actually enjoying himself as defendant lawyer Levinsky trying to get a handle of his rich girl client and then seeing his face when he twigs what the real tragedy might be.

Streisand on the other hand never convinces me that she is a high class hooker who has been roughing it on the seamy side of life. Its not the film's fault that the murder victim turns out to be Leslie Nielsen (soon to be in the hit spoof Naked Gun films) as his scenes that we see in flashback go a little bit too near to Frank Drebin and I am sure no want wanted too see Nielsen in just his black underpants.

As a courtroom thriller in a busy New York court setting the film is enjoyable but dare I suggest that Miss Streisand was miscast.

Based on Tom Topors's off broadway play, NUTS is a highly charged drama that raises some uneasy questions. NUTS opened in late 1987 to little hype and mixed reviews.

This is a film that deserves to have a second life on video. While the court room plot devices are predictable, the film raises some important issues and questions. Questions like, "What is normal?" and "Does the law have the right to force help upon those who don't want it?"

What really makes this film worth watching though, is Barbra Strisand's bravura performance in the lead. I cannot believe she failed to receive an Oscar for her work here, it's crime that she wasn't at least nominated. Director Martin Ritt keep the film going at a perfect pace and also gets strong supporting performances from Richard Dreyfss and Maureen Stapleton.

This is a film that deserves more attention then it originally received, it is honest, though-provoking, and features a brilliant performance from Streisand.

My score for this excellent film: 9/10!

Streisand is still good in this thankless role playing a necessarily annoying character. The real jewel in this film is Maureen Stapleton. As always she gives an award winning performance. The acting is good but the courtroom scenes stretch credibility.

Nuts, by Barbra Streisand, is a classic showcase of this multi-talented woman's versatility as an actress. The film deals with a very weighty subject, is handled superbly by Streisand, both as an actress and as a director. Other noteworthy performances are given by Richard Dreyfuss, Maureen Stapleton, and Arthur Kirk, as her lawyer, mother, and step-father respectively. This film is an unadultered gem and should be considered as such by any worthy critic.

Badly neglected by both audiences and critics at the time of it's original release, NUTS is a film that is ripe for reevaluation. Based on Tom Toplor's 1981 courtroom play, NUTS is definitely a dialogue-based film with little Hollywood flashiness. Though extremely well-written (by Toplor, adapting his own work with Darryl Ponicsan and Alvin Sargent) and sharply staged and directed by veteran Martin Ritt, it is the cast whom is really responsible bringing NUTS to life. Barbra Streisand gives an absolutely bravura performance that should have earned her an Oscar nomination. Alternately hilarious and frightening, Streisand is always mesmerizing as she delves so far into character.

Richard Dreyfess is nothing less than Streisand's equal as her public defender. He too was robbed of an Oscar nomination. The supporting cast is a top-notch ensemble of professional character actors (Maureen Stapleton, Eli Wallach, Robert Webber, James Whitmore, and Karl Malden), all of whom work their craft flawlessly. NUTS' screenplay does indulge in the predictability of some of the typical courtroom-plot conventions a little too often, but Toplor's absorbing script still deserves high praise for it's fascinating exploration of what constitutes as normality and whether or not the insane should be required to receive treatment. NUTS isn't going to win over any fans of 3-cuts-per-second action films, but it will leave lovers of thought-provoking, expertly-acted dramas fascinated.

Manhattan call-girl has to prove her sanity in a courtroom hearing after she has killed a client; she says it was in self-defense, but now her mental state and her lifestyle--as well as her tumultuous childhood--are on trial. "Nuts" presents a dilemma for director Martin Ritt and his screenwriters, Tom Topor, Darryl Ponicsan and Alvin Sargent, working from Topor's play: how do you get an audience to sympathize with the heroine of your story, one who has a short fuse, a nasty disposition, and who rubs everybody else the wrong way? It probably wasn't possible, and protagonist Claudia Draper is an exasperating, meddling, infernal creation. Barbra Streisand obviously saw in the material a meaty dramatic role for herself as an actress and, although perhaps a bit too old for the part of Claudia Draper, she tackles the project with relish. Unfortunately, "Nuts" opens with such a flurry of manic energy that it's predictable the film won't be able to sustain or match that intensity for the rest of its length. Once the introductions are out of the way, the film settles into a talky, stagy formula, one complete with showboating solo moments for Streisand and most of her co-stars (with the exception of Richard Dreyfuss as her legal representative, who makes a bigger impact simply by keeping a lower profile). Streisand's abrasive Claudia is really the whole picture, and Barbra chews up so much scenery in the course of two hours I'd be surprised if she didn't hit the gym afterward. Still, a piece like this needs an electric personality in the lead if it's going to work at all, and Streisand does more for the role than a less-dynamic actress might have. Not a great picture by any means, and with an amusing/puzzling final shot of Streisand at the end, but one that is well-produced, interestingly edited and full of top talent and style. **1/2 from ****

This is the third of three great courtroom dramas from that time. "And Justice for All,"(1979) and "The Verdict," (1982) were the other two.

Because of all the courtroom dramas on television in the 1990's and 2000's, many of the things in the movie now seem as clichés. It is important to remember that it was quite original when it came out. It is only cliché today because it has been copied so much since. Women were generally terrible victims of much psychiatry in the 20th century, this film, "Francis" (1982)and "Suddenly, Last Summer" (1959) are the only three movies that really demonstrate that.

The cast is full of great actors and actresses in small rolls: Eli Wallach, James Whitmore, Maureen Stapleton, and Karl Malden know that less is more and underplay their roles smoothly. The only problem with the casting is Leslie Nielsen as a crazy client. Nielsen became so associated with spoofs like "Airplane" and "The Naked Gun" one almost laughs automatically when he's on the screen, no matter how serious the scene is. Stars Richard Dreyfus and Barbara Streisand are at the top of their form and work well off each other.

The one criticism of this movie that is valid is Streisand's age. She is a bit too old at 45 for the character who is supposed to be in her late 20's. It is a minor irritation, and we should remember that male actors in their 40's also frequently play such roles. For example, Brad Pitt was 41 when he played Achilles, and Sylvester Stallone was 60 when he played in his last "Rocky" movie.

This is Barbara Streisand's grittiest movie with rape, incest, and madness being key themes, yet it still has a lot of witty lines and funny moments. It is just well balanced and well done. The DVD contains some fascinating commentary by Ms. Streisand.

Though it's largely set in a daunting courtroom, Nuts tries to be more psychological mystery than legal dilemma, and for the better part of the way throughout, Nuts is startlingly gripping before it shamelessly tumbles into agonizing, even cringe-worthy sermonizing at the lugubrious and pedantic conclusion when Streisand serves a painfully affected monologue all in close-up. It's the household psychodrama between patient and shrink, except here a lawyer does the evaluating. Dreyfuss plays this intersection between Perry Mason and Sigmund Freud, Aaron Levinsky, court-appointed to represent Claudia Draper, a call girl who killed a john. The exhaustingly hostile Claudia longs to be tried, but the court is about to pronounce her mentally incompetent to stand trial. The judge, played with truthful and temperate keenness by James Whitmore, certainly merits that available seat on the Supreme Court. Seasoned and resolute as he is, the judge questions how this smart, well-heeled girl came to this. Her mother and stepfather, Maureen Stapleton and Karl Malden, seem to be ideal parents, and Claudia the indulged child gone strangely nutty. Levinsky, the intellect detective, prods for resolutions for this catch-22 that's quickly wearing his patience thin when he needs it most: dealing with her.

In another first-rate performance, Richard Dreyfuss plays the stunningly durable Levinsky. With infectious charm, he unearths some bleak skeletons from her cupboard, and in turn from those of Claudia's stepfather, her mother and her psychiatrist. This credentially surefire film, for awhile, seems like a plucky movie with an unpleasant lead who intractably defies bowing to the agendas, neuroses, or desires of anybody else. But by the end of Nuts, when the case has been decided, there's an unshakable sentiment of tackiness, that the antagonists were trumped-up sitting ducks the script contrives to be taken lying down. If all of psychiatry had been this undemanding, Freud wouldn't have been needed to invent it. The Brothers Grimm would've already taken care it for us.

But regardless, the unraveling of those details is executed so well. At the helm of such masterpieces of delicate subtlety and sensitivity like The Spy Who Came in From the Cold, Pete 'n' Tillie and The Front, Martin Ritt is efficient with the technique of the flashback that expands step by step, showing but an instant of a past event, then a little more, then ultimately the entire event. Two distinct bathroom sequences are divulged in this manner, one surrounding Claudia as a little girl, the other her brutal confrontation with her victim. Nuts culminates like a Broadway musical, but otherwise it's an absorbing character study, cadenced like a fine thriller. Ritt has always undoubtedly been a performer's director with a predilection towards oppressed female protagonists. Sally Field's Norma Rae, Patricia Neal in Hud.

Supported by a dignified cast, Streisand and Dreyfuss pair for the first time, but they work together like practiced dancers. He spins her and she laps up the ovation. And that's not uncommon for the controlling Streisand, who characteristically holds the fort on all her projects, but whether it's Streisand or Stallone, supremacy on a movie set only achieves either profundity or chaos. Eli Wallach is entertaining arcane as the psychiatrist. Stapleton is deeply felt, if way too broad, as the feeble mother, with Malden fluently overtaking his Am Ex stamp as Claudia's stepfather. Leslie Nielsen is every prostitute's dread as the client who insists upon and gets more than has been agreed to.

In the opening scenes, we are submerged in the dark-light worlds of the robotizing single-file lines and pencil-pushing procedures of the womens' prison and the crowded, busy courtroom. Director of photography Andrzej Bartkowiak's camera-work begins us in a stark rhythm and atmosphere. But unfortunately, Nuts is below the summation of its memorable parts. Regardless of all its strong suits, it's ultimately ineffective and vain inside. No matter their cred, Ritt, Bartkowiak, screenwriter Alvin Sargent never entirely follow through with their ultimate intent, setting inner integrity against social facades to compel us to determine what it truly means to be crazy.

Barbra Streisand as a call girl (a "high end" one of course) who has gone more than a little nutty. Leslie Nielsen as a crazed John who attacks Streisand while wearing some very tiny black bikini briefs. Richard Dreyfuss as Streisand's hyper public defender. Dialogue such as "I get four-hundred dollars for a straight lay, three-hundred for a hand job, and five-hundred for head. If you want to wear my panties, that's another hundred" and "Don't judge my blow jobs, they were sane." All makes for a rather unintentionally campy movie and this camp factor is only ratcheted up by the serious way the film was made.

Streisand, admittedly, is entertaining in the role, even if the constant muttering to herself gets a little old after 30 minutes and becomes a little too theatrical in a look at me "I'm acting" kind of way. Nuts was based on a play originally produced in the 1970s and this film version, directed by the great Martin Ritt, is unable to overcome its original theatrical limitations. The film is unendingly claustrophobic, for example. There is only one scene that takes place outdoors - the final one. Moreover, the premise is awfully limited and despite Streisand's star power and the over the top concept of a nutty hooker killing one of her clients this film at its core is just a standard TV courtroom drama.

A film with so much potential, ruined by a laughably miscast Barbara Streisand. This is one of a string of Streisand vanity projects that would have been better suited in other hands.

Maureen Stapleton, however, gives a bravura performance, making this film worth a watch.

La Streisand could learn a lot from the incredible Stapleton. Lesson #1: less is more.

When "Nuts" was released, Barbra Streisand was 45. This might have been all right but for the fact that Streisand's character is supposed to be twenty-something and thus almost young enough to be Streisand's daughter. But then nobody has ever claimed that Streisand lacks chutzpah. Her character in "Nuts" is a prostitute who is thoroughly unlikable, even unsympathetic to all but the most ardent feminists. While the killing of one of her clients that leads to a manslaughter charge against her was clearly justifiable, I found myself not caring very much whether she was institutionalized or simply acquitted and allowed to go back to turning tricks and making the lives of all around her miserable. The movie's only saving graces are a taut script and terrific acting by the rest of the cast, particularly Richard Dreyfuss, Maureen Stapleton, and Malden, who despite his age, 75, could have passed for a man many years younger. Marginally recommended, but only if you can stomach Streisand and the character she plays; 6 of 10.

Yes, the multi-talented Richard Dreyfuss makes a great lawyer.

There's something about him that just kicks everything he does into high gear - even if it's a crappy movie in general.

He's gone that sparkle that not many others have.

He's got more sparkle than Al Pacino and De Niro.

If I were to go on trial for a serious crime, I would want Richard Dreyfuss backing me up...

The movie was OK, I don't think she was nuts from the very opening scene, not any of the rest of the movie made me think she was nuts - so why would anybody else think she was nuts? I guess because it needed a title and every other court room title was taken.

Anyways, it's a decent movie - nothing too exuberant and nothing award winning, but the roles for most actors were pretty darn good and because of Richard's screen charisma, it get's a 7.

In New York, the public defender Aaron Levinsky (Richard Dreyfuss) witnesses the high-class call girl Claudia Draper (Barbra Streisand) beating her attorney while waiting for his hearing in the courtroom. Judge Stanley Murdoch (James Whitmore) assigns him to defend Claudia and soon he learns that she killed her client Allen Green (Leslie Nielsen) in self-defense. However, her mother Rose Kirk (Maureen Stapleton) and her wealthy stepfather Arthur Kirk (Karl Malden) want her declared mentally incompetent to go on trial. Dr. Herbert A. Morrison (Eli Wallach) prepares a medical report stating that she is mentally unstable to support the trial, but Claudia wants to prove that she is sane; otherwise she would spend the rest of her life in a mental institution. Along the hearing, the District Attorney Francis MacMillan (Robert Webber) and Levinsky question the defendant, her mother, her stepfather and Dr. Morring and the painful truth about Claudia's childhood is disclosed.

"Nuts" is one of the best courtroom dramas ever made. The story is developed practically in one location, but the performances are awesome highlighting Barbra Streisand. This actress deserved at least a nomination to the Oscar. The conclusion has a corny moment, when Claudia hugs her mother. My vote is eight.

Title (Brazil): "Querem me Enlouquecer" ("They Want to Drive me Crazy")

Note: On 12 Nov 2018 I saw this film again.

Barbra Streisand plays a high-priced call girl, who is arrested for manslaughter. The crux of the plot is that her parents hire an expensive attorney to avoid a trial (and the accompanying public exposure of her profession) by having her declared mentally unfit to stand trial. Streisand's character doesn't help herself much by behaving oddly, and occasionally violently. The film is chock full of recognizable actors, who all turn in good performances. I'm not always a fan of Richard Dreyfuss, but he does shine in this one. Also, Leslie Nielsen, who was beginning his transformation into a comedic actor around this time, was very creepy and menacing as the "victim" of the homicide. It was, to me, reminiscent of his role in Creepshow. Overall, the film is pretty good, with good acting, good photography, and unobtrusive direction.

This movie is very psychological and emotional. The realism of Claudia's abuse as a child and its effects on her life as an adult is very heart-wrenching. It made me so furious to see Claudia's helplessness in a fight against the judicial system and her wealthy parents. It is depressing to see just how far the power of money can take us as a society - free killers and lock up (in this case institutionalise) the innocent. It is even more terrifying to know what kind of "licensed professionals" get to judge people's "mental capacity." This movie shows that there is still some hope and justice in the world.

This could have been a great film were it not for Streisand's performance. It is strongly overdone and melodramatic (even hammy). She acted as though she were on stage, and that is ok if she is. But, on screen you have to tone down your performance. Otherwise, a good film.

In `Nuts,' Barbra Streisand throws her weight around while pretending to play a prostitute who has lost control of her life. There's no doubt, however, who is in control of this movie. In her commentary on the newly released DVD, Barbra smugly remarks that she has often gotten into trouble by bluntly speaking the `truth' just like her character in `Nuts.' Of course, when her character, `Claudia Draper,' screams `listen to me, listen to me' as she often does in the film, who's going to argue? Streisand is also the producer. Don't be fooled. Claudia is no more nuts than you or me. In fact, she's the smartest person in the movie. The members of an impressive supporting cast are nothing more than a bunch of sitting ducks in a shooting gallery, all lined up to be shot down by a domineering superstar. They all have their turn at being told off by Claudia. Not only that, she is not just an ordinary hooker. She's self-employed and, by her own account, the best in the business, doing well enough to rake in $100,000 a year. That's right, we're expected to believe that an older man in his 50's or 60's would pay $500 an hour for a woman in her mid-40's who looks like Barbra Streisand! No sweet young blond bimbo for him. On the DVD, Streisand only mentions the name of director Martin Ritt once and that's to say that theirs was a `collaborative effort.' I'd be interested to know just exactly what he did do. He was certainly powerless to prevent the spectacle of an actress airing the dirty linen of her own childhood in public and passing it off as something universal. Streisand-watchers know that she had a nasty stepfather who abused her mentally if not physically while she was growing up, and a mother who not only stood by and did nothing, but also sought to undermine her daughter's confidence in herself. (Even as late as 1993 and the famous `60 Minutes' interview with Mike Wallace, all it took to bring her to tears was Wallace mentioning a criticism of her mother's). It's pretty obvious that Barbra is still working out her anger over all this in `Nuts,' but I'm not sure why we should be paying to watch. This movie is a slideshow presentation for her analyst.