Framing StoryDr Martin (Robert Powell) arrives at a secluded asylum "for the incurably insane" to be interviewed for a job by the wheelchair-using, authoritarian Dr Lionel Rutherford (Patrick Magee). Rutherford explains that he owes his current incapacitation to an attack by an inmate. Rutherford reveals his unorthodox plan to determine Martin's suitability for the post of head Doctor. One of the asylum's current inmates is Dr B. Starr, the former head doctor who underwent a complete mental breakdown. Martin is to interview the inmates of the asylum to deduce which one is Dr Starr. If his choice is correct Rutherford will "consider" him for the post.
The attendant Max Reynolds (Geoffrey Bayldon) admits Martin through the security door to the inmates' solitary confinement cells where he interviews each in turn.
"Frozen Fear"Bonnie (Barbara Parkins) recounts the plot to murder Ruth (Sylvia Sims), the wealthy wife of her lover Walter (Richard Todd). Ruth is a possessive heiress who studies voodoo, and this interest stands in the way of Bonnie and Walter being together.
"The Weird Tailor"Bruno (Barry Morse) recounts how poverty forced him to accept the unusual request of a Mr Smith (Peter Cushing) to produce an elaborate suit of clothing from a mysterious, scintillating, fabric that can animate anything, including the dead.
After learning what the suit will be used for, Bruno fights Smith and accidentally kills him. He returns with the unsold suit. His wife Anna (Anne Firbank) dresses their store mannequin in the suit and its true powers are revealed.
"Lucy Comes To Stay"The ebullient Barbara (Charlotte Rampling) informs Martin she has been in an asylum before. After her release from that asylum she was closely monitored at home by her brother George (James Villiers) and a nurse, Miss Higgins (Megs Jenkins). This frustrated existence is relieved when her mischievous friend Lucy (Britt Ekland) comes to visit.
"Mannikins of Horror"Finally Martin interviews Dr Byron (Herbert Lom) who holds Rutherford in deep contempt. Byron explains he is working towards soul transference with a small automaton whose head is a likeness of his own, and shows Martin several earlier models. Byron plans to "will" his mannequin to life, and explains the interior of the robot is organic, a miniaturised version of his own viscera. Martin concludes his interview and Max shows him downstairs to deliver his judgement to Rutherford.
Byron successfully brings his mannequin to life: it makes its way to Rutherford's office and kills him with a surgical knife. Then, Martin destroys the mannequin and seeks help from Max Reynolds, and Dr. Starr's true identity is revealed.
观众对《精神病院1972[电影解说]》的评价两极分化，一方面认为剧情离谱、演员表现惊艳，另一方面认为编剧粗制滥造、剧情不合理。
它是一部值得一看的电影，通过其故事和表现手法，让观众反思剧内向观众表达的意义和人性的复杂！
这是一部非常特别的影片，没有大开大合的剧情，没有博人眼球的类型元素，没有贯穿到底的故事脉络。像是一杯温开水，看似平淡，却喝起来十分解渴。
说真的，《精神病院1972[电影解说]》看完后我真的是久久不能平静！因为这部影片确实带给人的震撼太大了！不论是剧情节奏，还是剧情尺度，都让人不敢相信这是英国剧的水平。
充满了各种自相矛盾的观点，以及对人性的各种颠覆解读，看一遍绝对不过瘾。你每刷一遍，都能对人性有新的认知。
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