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Nostalgia Review: “Fear Strikes Out” (Mulligan, 1957)

Fear Strikes Out is a relatively overlooked little movie with a lot of interesting background. This is the debut picture of director Robert Mulligan (To Kill a Mockingbird), based on the book of the same title by professional baseball star Jimmy Piersall (played here by Anthony Perkins) which documents his struggles with bipolar disorder. Centering on Piersall’s relationship with his domineering father (Karl Malden), Fear Strikes Out begins with Jimmy’s high-pressure younger years and goes through his marriage, recruitment into the Boston Red Sox, and subsequent institutionalization. Although later disavowed by Piersall, who had grown skeptical of the effectiveness of psychiatric care, it’s one of the first films to address mental illness in a clinical and understanding way, rather than stressing its frightening aspects.

Robert Mulligan doesn’t reinvent the wheel with this movie, but some of his choices are much more sophisticated than one might expect to see in a ‘50s sports biopic. For one, Fear Strikes Out is a criticism of athletic culture (and sports fandom) rather than its unquestioning celebration. Some of the most powerful moments come when we see shy, perfectionistic young Piersall thrust into a world that scrutinizes his every move, throws around casual indictments of his career, and screams at him from the stands. Some of the filmmaking is also noteworthy, such as the use of shadows during Perkins’ confrontations with Malden, or the radio soundscape when Piersall is awaiting a call in his hotel room. But honestly, the real reason to see Fear Strikes Out is Anthony Perkins’ performance. When you see this movie, you’re not watching a promising athlete with a mean dad who got derailed by a trip to the hospital: you’re watching a man who was raised by an emotionally abusive father suffer a prolonged, personality-changing, and utterly painful mental collapse. Perkins develops this character flawlessly.

That being said, to today’s viewers, Fear Strikes Out will feel a little dated. It’s a film that teeters on the edge of the stagey, classic studio style and something more modern. This is apparent in the way scenes are constructed (particularly the way they end, frequently, with a line or gesture that serves as punctuation) and in its mix of acting styles. Perkins’ performance holds up well, aside from the aforementioned staginess of the film (and music cues), because he manages to make his interactions with objects and his movement through the set feel natural and motivated. Norma Moore, playing Piersall’s wife, Mary, belongs a bit more in the studio tradition: she does a good job, especially opposite Perkins, but her line recitation can be too affected for modern tastes. Baseball fans may also be annoyed by Perkins’ lack of throwing skills, but for a leftie trying to use his right hand, I think he fakes his way through it pretty well.

Some of the production details surrounding this picture, and in particular its leading man, are as dramatic as the movie itself. For one, this was the role that got Tony noticed by Alfred Hitchcock three years before their fateful collaboration. It doesn’t sound like Perkins had a terribly nice time making this film, however. Although it’s difficult to verify, the rumor is that the crew and executives would harass him for being gay – his affair with Tab Hunter was an open secret in the biz – so the actor was himself on edge throughout filming. Whether or not that’s so, Fear Strikes Out didn’t do his relationship with Hunter any favors: Tab had played Piersall in a TV adaptation of the book and was lobbying for the film role, so when his lover got it, he was less than thrilled at the betrayal. Nevertheless, Robert Mulligan has had some kind words for Tony’s courage on set, particularly during the filming of Piersall’s mental breakdown – a scene that required a lot of physical acting, including jumping onto a chain link fence.

Juicy gossip aside, Fear Strikes Out is required viewing for big Perkins fans, and it may hold some interest for To Kill a Mockingbird and Psycho enthusiasts, too. It can be stagey, but speaking as somebody who doesn’t tend to like movies of that style, I can say that Fear Strikes Out feels far less dated than many of them. So the next time you’re in the mood for some Tony P., this is a good one to check out!