Feelings of Depression (1950) | National Film Board of Canada

Shotlist & Visual Analysis

The still from 'Feelings of Depression' (1950) likely captures a moment that emphasizes the emotional weight of the protagonist, John Murray. It may depict him in a contemplative or despondent state, illustrating the film's focus on his struggles with mental health. The setting and composition would reflect post-war societal attitudes towards depression, aiming to educate viewers about the emotional challenges faced by individuals like Murray. This film serves as a historical piece, showcasing early awareness of mental health issues in Canada.

00:00:00.000 — The still from 'Feelings of Depression' (1950) likely captures a moment that emphasizes the emotional weight of the protagonist, John Murray. It may depict him in a contemplative or despondent state, illustrating the film's focus on his struggles with mental health. The setting and composition would reflect post-war societal attitudes towards depression, aiming to educate viewers about the emotional challenges faced by individuals like Murray. This film serves as a historical piece, showcasing early awareness of mental health issues in Canada.

The still from 'Feelings of Depression' (1950) presents a subdued, muted background, evoking a sense of melancholy reflective of the film's themes. As an educational dramatization, it focuses on the emotional struggles of John Murray, a conscientious businessman, highlighting issues related to depression in a post-war context. The film aims to raise awareness about mental health and early emotional awareness, making it a significant piece in the history of educational cinema in Canada.

00:00:03.170 — The still from 'Feelings of Depression' (1950) presents a subdued, muted background, evoking a sense of melancholy reflective of the film's themes. As an educational dramatization, it focuses on the emotional struggles of John Murray, a conscientious businessman, highlighting issues related to depression in a post-war context. The film aims to raise awareness about mental health and early emotional awareness, making it a significant piece in the history of educational cinema in Canada.

The still from 'Feelings of Depression' (1950) features a somber-looking man, identified as John Murray, sitting at a desk in a dimly lit room. He is dressed in a formal suit and tie, wearing glasses, and appears contemplative or troubled as he gazes down at the document in front of him. The scene captures a moment of introspection, reflecting the film's exploration of mental health struggles and the impact of depression on everyday life. The use of lighting and modest office setting underscores the seriousness of the topic.

00:02:48.668 — The still from 'Feelings of Depression' (1950) features a somber-looking man, identified as John Murray, sitting at a desk in a dimly lit room. He is dressed in a formal suit and tie, wearing glasses, and appears contemplative or troubled as he gazes down at the document in front of him. The scene captures a moment of introspection, reflecting the film's exploration of mental health struggles and the impact of depression on everyday life. The use of lighting and modest office setting underscores the seriousness of the topic.

The still from 'Feelings of Depression' (1950) depicts a visually abstract representation, likely using blurred and distorted imagery to convey the emotional turmoil experienced by John Murray, the film's protagonist. This stylistic choice reflects the complexities of depression, illustrating a sense of confusion and despair. The monochromatic palette enhances the somber tone, aligning with the film’s educational aim to raise awareness of mental health issues in a historical context.

00:03:43.056 — The still from 'Feelings of Depression' (1950) depicts a visually abstract representation, likely using blurred and distorted imagery to convey the emotional turmoil experienced by John Murray, the film's protagonist. This stylistic choice reflects the complexities of depression, illustrating a sense of confusion and despair. The monochromatic palette enhances the somber tone, aligning with the film’s educational aim to raise awareness of mental health issues in a historical context.

The still from 'Feelings of Depression' (1950) features a baby with a contemplative expression, seated in a wicker chair. The simplicity of the child's clothing and the background hints at the mid-20th century setting. This image symbolizes the innocence and vulnerability associated with childhood, contrasting with the film's focus on adult struggles with depression, particularly through the character of John Murray. The juxtaposition highlights the emotional impacts of mental health across different life stages.

00:04:10.751 — The still from 'Feelings of Depression' (1950) features a baby with a contemplative expression, seated in a wicker chair. The simplicity of the child's clothing and the background hints at the mid-20th century setting. This image symbolizes the innocence and vulnerability associated with childhood, contrasting with the film's focus on adult struggles with depression, particularly through the character of John Murray. The juxtaposition highlights the emotional impacts of mental health across different life stages.

The still from 'Feelings of Depression' depicts a young boy, dressed in a striped shirt, gently looking down at a sleeping baby in a cradle. The scene is set in a modest room, suggesting a familial or domestic environment. The boy's expression conveys a sense of care and contemplation, reflecting the emotional themes explored in the film. This moment could symbolize innocence and the complex feelings surrounding familial responsibilities, paralleling the adult struggles with depression that the film addresses.

00:04:43.049 — The still from 'Feelings of Depression' depicts a young boy, dressed in a striped shirt, gently looking down at a sleeping baby in a cradle. The scene is set in a modest room, suggesting a familial or domestic environment. The boy's expression conveys a sense of care and contemplation, reflecting the emotional themes explored in the film. This moment could symbolize innocence and the complex feelings surrounding familial responsibilities, paralleling the adult struggles with depression that the film addresses.

The still from 'Feelings of Depression' features a young boy lying in bed, seemingly deep in thought or distress. The lighting and stark black-and-white imagery enhance the sense of somber contemplation. This moment likely illustrates the internal struggle associated with depression, reflecting themes of emotional turmoil and isolation. The film addresses the impact of mental health on individuals and their families, set against a historical backdrop of limited understanding and resources for mental health issues in the 1950s.

00:05:19.052 — The still from 'Feelings of Depression' features a young boy lying in bed, seemingly deep in thought or distress. The lighting and stark black-and-white imagery enhance the sense of somber contemplation. This moment likely illustrates the internal struggle associated with depression, reflecting themes of emotional turmoil and isolation. The film addresses the impact of mental health on individuals and their families, set against a historical backdrop of limited understanding and resources for mental health issues in the 1950s.

The still from 'Feelings of Depression' depicts a woman turned slightly away from the camera, sitting at a desk with a lamp. The setting has a somber atmosphere, emphasizing the themes of emotional struggle and introspection. Shadows play a significant role, hinting at underlying tension and the gravity of the subject matter. The film aims to educate viewers about the complexities of depression through personal narratives.

00:05:25.258 — The still from 'Feelings of Depression' depicts a woman turned slightly away from the camera, sitting at a desk with a lamp. The setting has a somber atmosphere, emphasizing the themes of emotional struggle and introspection. Shadows play a significant role, hinting at underlying tension and the gravity of the subject matter. The film aims to educate viewers about the complexities of depression through personal narratives.

The still from 'Feelings of Depression' presents a close-up of a young boy, evoking a sense of melancholy. His expression is contemplative, with half-closed eyes and a solemn demeanor, suggesting inner turmoil. The black-and-white format enhances the emotional weight of the scene, aligning with the film's exploration of depression through the narrative of John Murray, emphasizing the profound impact of psychological struggles. This moment captures the film’s aim to educate viewers on the complexities of mental health.

00:05:28.829 — The still from 'Feelings of Depression' presents a close-up of a young boy, evoking a sense of melancholy. His expression is contemplative, with half-closed eyes and a solemn demeanor, suggesting inner turmoil. The black-and-white format enhances the emotional weight of the scene, aligning with the film's exploration of depression through the narrative of John Murray, emphasizing the profound impact of psychological struggles. This moment captures the film’s aim to educate viewers on the complexities of mental health.

The still from 'Feelings of Depression' captures a domestic kitchen setting, emphasizing simplicity and functionality. A white countertop hosts a variety of items including a jar, a glass container, and fruit, suggesting a sense of everyday life. The muted color palette and vintage aesthetic reflect the era of the film, highlighting the emotional isolation of the protagonist, John Murray. This setting serves as a visual metaphor for the struggle with mental health portrayed in the film, juxtaposing ordinary domesticity with underlying emotional turmoil.

00:05:54.621 — The still from 'Feelings of Depression' captures a domestic kitchen setting, emphasizing simplicity and functionality. A white countertop hosts a variety of items including a jar, a glass container, and fruit, suggesting a sense of everyday life. The muted color palette and vintage aesthetic reflect the era of the film, highlighting the emotional isolation of the protagonist, John Murray. This setting serves as a visual metaphor for the struggle with mental health portrayed in the film, juxtaposing ordinary domesticity with underlying emotional turmoil.

The still from 'Feelings of Depression' (1950) features a young boy with a serious expression, reflecting a sense of concern or confusion. His attire suggests a 1950s setting, and the black-and-white film emphasizes the emotional gravity of the moment. This scene likely illustrates the film's exploration of the impact of mental health struggles on family dynamics, highlighting the boy's emotional response to his surroundings, specifically relating to the challenges faced by his father, John Murray.

00:06:09.769 — The still from 'Feelings of Depression' (1950) features a young boy with a serious expression, reflecting a sense of concern or confusion. His attire suggests a 1950s setting, and the black-and-white film emphasizes the emotional gravity of the moment. This scene likely illustrates the film's exploration of the impact of mental health struggles on family dynamics, highlighting the boy's emotional response to his surroundings, specifically relating to the challenges faced by his father, John Murray.

In this still from 'Feelings of Depression' (1950), a woman appears to be in a state of emotional distress. Her facial expression suggests vulnerability and introspection, reflecting the film's exploration of mental health issues. The setting likely indicates a clinical or therapeutic environment, aligning with the film's objective to educate viewers about depression through the narrative of John Murray, a businessman dealing with despondency. The overall mood conveys the seriousness of the subject matter, emphasizing the challenges faced by individuals grappling with mental health.

00:06:13.506 — In this still from 'Feelings of Depression' (1950), a woman appears to be in a state of emotional distress. Her facial expression suggests vulnerability and introspection, reflecting the film's exploration of mental health issues. The setting likely indicates a clinical or therapeutic environment, aligning with the film's objective to educate viewers about depression through the narrative of John Murray, a businessman dealing with despondency. The overall mood conveys the seriousness of the subject matter, emphasizing the challenges faced by individuals grappling with mental health.

The still from 'Feelings of Depression' presents a young boy with a serious expression, indicating a sense of concern or reflection. His gaze suggests he is involved in a significant moment, possibly related to the themes of the film. The black-and-white format enhances the emotional gravity of the scene, typical of the era's educational dramatizations. This film aims to shed light on mental health, particularly the impacts of depression on individuals and their families.

00:06:15.442 — The still from 'Feelings of Depression' presents a young boy with a serious expression, indicating a sense of concern or reflection. His gaze suggests he is involved in a significant moment, possibly related to the themes of the film. The black-and-white format enhances the emotional gravity of the scene, typical of the era's educational dramatizations. This film aims to shed light on mental health, particularly the impacts of depression on individuals and their families.

In this still from 'Feelings of Depression' (1950), a woman is depicted focused on a task, likely related to home or caregiving. Her expression suggests introspection or concern, reflecting the emotional undertones of the film, which explores the effects of depression on individuals and their families. The film serves as an educational piece, portraying the societal challenges around mental health in the 1950s.

00:06:23.450 — In this still from 'Feelings of Depression' (1950), a woman is depicted focused on a task, likely related to home or caregiving. Her expression suggests introspection or concern, reflecting the emotional undertones of the film, which explores the effects of depression on individuals and their families. The film serves as an educational piece, portraying the societal challenges around mental health in the 1950s.

The still from 'Feelings of Depression' depicts a solemn moment between two men, set against a backdrop of bare trees and a picket fence. One man, dressed in a trench coat and hat, faces another in a lighter coat, conveying a sense of tension or concern. The black-and-white aesthetic enhances the film's exploration of emotional struggles, reflecting the somber themes of depression and human connection in post-war society. This scene illustrates the personal interactions within the larger context of mental health issues during the 1950s.

00:07:14.601 — The still from 'Feelings of Depression' depicts a solemn moment between two men, set against a backdrop of bare trees and a picket fence. One man, dressed in a trench coat and hat, faces another in a lighter coat, conveying a sense of tension or concern. The black-and-white aesthetic enhances the film's exploration of emotional struggles, reflecting the somber themes of depression and human connection in post-war society. This scene illustrates the personal interactions within the larger context of mental health issues during the 1950s.

The still from 'Feelings of Depression' features a young boy leaning against a brick wall, portraying a sense of sadness or introspection. His expression is somber, reflecting the themes of emotional struggle and despondency that are central to the film. This educational dramatization, produced in 1950 by the National Film Board of Canada, aims to illuminate the early signs of emotional distress through character studies, in this case, linking the boy's feelings to broader issues of mental health. The film serves as a historical context for understanding depression's impact on individuals and society.

00:07:18.204 — The still from 'Feelings of Depression' features a young boy leaning against a brick wall, portraying a sense of sadness or introspection. His expression is somber, reflecting the themes of emotional struggle and despondency that are central to the film. This educational dramatization, produced in 1950 by the National Film Board of Canada, aims to illuminate the early signs of emotional distress through character studies, in this case, linking the boy's feelings to broader issues of mental health. The film serves as a historical context for understanding depression's impact on individuals and society.

The still from 'Feelings of Depression' depicts a young boy with a somber expression, standing against a brick wall. His downcast gaze and seemingly troubled demeanor reflect themes of emotional distress, aligning with the film's exploration of depression and mental health. This image likely represents the impact of early emotional experiences on individuals, setting the stage for understanding the complexities of adult despondency, as seen in the character of John Murray. The stark black-and-white style emphasizes the gravity of the subject matter.

00:07:23.109 — The still from 'Feelings of Depression' depicts a young boy with a somber expression, standing against a brick wall. His downcast gaze and seemingly troubled demeanor reflect themes of emotional distress, aligning with the film's exploration of depression and mental health. This image likely represents the impact of early emotional experiences on individuals, setting the stage for understanding the complexities of adult despondency, as seen in the character of John Murray. The stark black-and-white style emphasizes the gravity of the subject matter.

The still from 'Feelings of Depression' (1950) depicts a bleak, wintery scene with bare trees and a vintage automobile. The image is shot in black and white, characteristic of the era, conveying a somber mood. This visual ambiance complements the film's exploration of John Murray's struggles with depression, emphasizing themes of isolation and emotional hardship. The presence of the car and the surrounding environment suggests the context of 1950s suburban life, while the starkness of the trees mirrors Murray's internal despondency.

00:07:25.845 — The still from 'Feelings of Depression' (1950) depicts a bleak, wintery scene with bare trees and a vintage automobile. The image is shot in black and white, characteristic of the era, conveying a somber mood. This visual ambiance complements the film's exploration of John Murray's struggles with depression, emphasizing themes of isolation and emotional hardship. The presence of the car and the surrounding environment suggests the context of 1950s suburban life, while the starkness of the trees mirrors Murray's internal despondency.

The 16mm still from 'Feelings of Depression' (1950) shows a bleak outdoor scene featuring a white picket fence and barren trees, indicative of an early spring or late winter setting. The fence, symbolizing boundaries, contrasts with the desolate surroundings, reflecting the isolation and emotional struggles of the protagonist, John Murray. The overall composition evokes a sense of despondency, aligning with the film's exploration of mental health issues in a historical context.

00:07:28.214 — The 16mm still from 'Feelings of Depression' (1950) shows a bleak outdoor scene featuring a white picket fence and barren trees, indicative of an early spring or late winter setting. The fence, symbolizing boundaries, contrasts with the desolate surroundings, reflecting the isolation and emotional struggles of the protagonist, John Murray. The overall composition evokes a sense of despondency, aligning with the film's exploration of mental health issues in a historical context.

The still from 'Feelings of Depression' (1950) depicts a domestic scene in a kitchen where a woman gently administers care to a young boy, likely conveying warmth and nurturing. This moment reflects themes of family and everyday life, emphasizing the emotional connections that are significant within the context of mental health. The setting suggests a post-war Canadian home, which aligns with the film's exploration of the psychological struggles faced by individuals, like John Murray, and the impact of emotional well-being on family dynamics.

00:07:46.032 — The still from 'Feelings of Depression' (1950) depicts a domestic scene in a kitchen where a woman gently administers care to a young boy, likely conveying warmth and nurturing. This moment reflects themes of family and everyday life, emphasizing the emotional connections that are significant within the context of mental health. The setting suggests a post-war Canadian home, which aligns with the film's exploration of the psychological struggles faced by individuals, like John Murray, and the impact of emotional well-being on family dynamics.

The still from 'Feelings of Depression' depicts a young boy sitting on the floor, clutching a toy gun and looking up with a concerned expression. He is dressed in a patterned sweater and shorts, suggesting a childlike innocence contrasted with his serious demeanor. In the background, a rocking chair and other household items evoke a domestic setting, reinforcing the film's exploration of emotional struggles within a family context. The image captures a moment of vulnerability, reflecting the themes of despondency and the impact of mental health issues.

00:07:47.367 — The still from 'Feelings of Depression' depicts a young boy sitting on the floor, clutching a toy gun and looking up with a concerned expression. He is dressed in a patterned sweater and shorts, suggesting a childlike innocence contrasted with his serious demeanor. In the background, a rocking chair and other household items evoke a domestic setting, reinforcing the film's exploration of emotional struggles within a family context. The image captures a moment of vulnerability, reflecting the themes of despondency and the impact of mental health issues.

The still from 'Feelings of Depression' (1950) features an intimate moment between an elderly woman and a young boy in a kitchen setting. The woman, leaning toward the boy, appears to be engaging him gently, suggesting a nurturing relationship. The boy, looking up with a slight smile, seems to respond positively. This interaction reflects themes of care and familial support, contrasting with the film's broader exploration of mental health struggles exemplified by the character John Murray. The black-and-white format captures the historical context, emphasizing the societal attitudes toward emotional well-being during that era.

00:08:01.314 — The still from 'Feelings of Depression' (1950) features an intimate moment between an elderly woman and a young boy in a kitchen setting. The woman, leaning toward the boy, appears to be engaging him gently, suggesting a nurturing relationship. The boy, looking up with a slight smile, seems to respond positively. This interaction reflects themes of care and familial support, contrasting with the film's broader exploration of mental health struggles exemplified by the character John Murray. The black-and-white format captures the historical context, emphasizing the societal attitudes toward emotional well-being during that era.

The still features a young boy sitting on the floor, appearing contemplative and engaged in a serious conversation. He is dressed in a patterned sweater and shorts, with a toy or device in his lap. The dimly lit surroundings suggest a homey yet somber atmosphere, complementing the film's exploration of emotional struggles. This scene likely captures a moment reflecting the theme of childhood innocence amidst complex emotions, illustrating the roots of depression as addressed in the film.

00:08:03.149 — The still features a young boy sitting on the floor, appearing contemplative and engaged in a serious conversation. He is dressed in a patterned sweater and shorts, with a toy or device in his lap. The dimly lit surroundings suggest a homey yet somber atmosphere, complementing the film's exploration of emotional struggles. This scene likely captures a moment reflecting the theme of childhood innocence amidst complex emotions, illustrating the roots of depression as addressed in the film.

The still from 'Feelings of Depression' (1950) depicts a mother interacting with her young son in a domestic setting. The woman appears engaged, possibly in a conversation or preparing a meal, while the boy, with a slight smile, seems to be enjoying the moment. This scene highlights familial dynamics and the everyday struggles emphasized in the film, which addresses the impact of mental health on family life, particularly through the lens of a father's experiences with depression. The setting adds to the film's exploration of emotional challenges in a historical context.

00:08:06.653 — The still from 'Feelings of Depression' (1950) depicts a mother interacting with her young son in a domestic setting. The woman appears engaged, possibly in a conversation or preparing a meal, while the boy, with a slight smile, seems to be enjoying the moment. This scene highlights familial dynamics and the everyday struggles emphasized in the film, which addresses the impact of mental health on family life, particularly through the lens of a father's experiences with depression. The setting adds to the film's exploration of emotional challenges in a historical context.

The still from 'Feelings of Depression' (1950) depicts a young boy with a concerned expression, conveying a sense of distress or introspection. The muted tones and simplicity of the setting emphasize the theme of emotional struggle, likely reflecting the impact of familial or societal pressures. This visual element supports the film's narrative about mental health, illustrating how early emotional challenges can manifest in youth. The overall atmosphere is somber, aligning with the film's focus on the complexities of depression.

00:08:08.621 — The still from 'Feelings of Depression' (1950) depicts a young boy with a concerned expression, conveying a sense of distress or introspection. The muted tones and simplicity of the setting emphasize the theme of emotional struggle, likely reflecting the impact of familial or societal pressures. This visual element supports the film's narrative about mental health, illustrating how early emotional challenges can manifest in youth. The overall atmosphere is somber, aligning with the film's focus on the complexities of depression.

The still from 'Feelings of Depression' portrays a moment of introspection, capturing a glimpse of a door with a textured glass panel. The room appears simple, furnished with a wooden bench and a framed picture on the wall. The focus on the door suggests a threshold between the inner struggles of John Murray and the outside world, symbolizing his battle with despondency. This framing emphasizes isolation and the emotional weight of his experiences, consistent with the film's themes of mental health education in the 1950s.

00:08:29.109 — The still from 'Feelings of Depression' portrays a moment of introspection, capturing a glimpse of a door with a textured glass panel. The room appears simple, furnished with a wooden bench and a framed picture on the wall. The focus on the door suggests a threshold between the inner struggles of John Murray and the outside world, symbolizing his battle with despondency. This framing emphasizes isolation and the emotional weight of his experiences, consistent with the film's themes of mental health education in the 1950s.

The still depicts a scene from 'Feelings of Depression,' showing a young boy interacting with a woman at a desk, likely a counselor or office worker. The setting is a modest, mid-20th-century office, characterized by a typewriter and a telephone, reflecting the era's aesthetic. The woman appears engaged and friendly, possibly providing support or guidance, while the boy seems attentive, indicating a focus on communication about emotions. This moment highlights the film's intent to address mental health, specifically the themes of emotional struggles and support during the 1950s.

00:08:37.851 — The still depicts a scene from 'Feelings of Depression,' showing a young boy interacting with a woman at a desk, likely a counselor or office worker. The setting is a modest, mid-20th-century office, characterized by a typewriter and a telephone, reflecting the era's aesthetic. The woman appears engaged and friendly, possibly providing support or guidance, while the boy seems attentive, indicating a focus on communication about emotions. This moment highlights the film's intent to address mental health, specifically the themes of emotional struggles and support during the 1950s.

The still from 'Feelings of Depression' (1950) depicts a man, likely John Murray, sitting at his desk in an office setting. He appears contemplative, holding a pen and looking off into the distance, suggesting a moment of introspection or concern. The office is sparsely decorated, with a combination of furniture and artworks that reflect mid-20th-century design. This scene captures the film's focus on the emotional struggles faced by the character, highlighting the themes of mental health and its impact on an individual's life and work.

00:08:53.967 — The still from 'Feelings of Depression' (1950) depicts a man, likely John Murray, sitting at his desk in an office setting. He appears contemplative, holding a pen and looking off into the distance, suggesting a moment of introspection or concern. The office is sparsely decorated, with a combination of furniture and artworks that reflect mid-20th-century design. This scene captures the film's focus on the emotional struggles faced by the character, highlighting the themes of mental health and its impact on an individual's life and work.

In this still from 'Feelings of Depression' (1950), a man is shown embracing another individual in an office setting, conveying a moment of emotional support. The background features a window with a view of a cityscape, alongside a cluttered desk filled with papers and office supplies, reflecting the stress of the character's life. This scene illustrates themes of struggle and connection amid the challenges of mental health, focusing on the character of John Murray, a businessman grappling with depression.

00:09:58.865 — In this still from 'Feelings of Depression' (1950), a man is shown embracing another individual in an office setting, conveying a moment of emotional support. The background features a window with a view of a cityscape, alongside a cluttered desk filled with papers and office supplies, reflecting the stress of the character's life. This scene illustrates themes of struggle and connection amid the challenges of mental health, focusing on the character of John Murray, a businessman grappling with depression.

The still from 'Feelings of Depression' (1950) depicts a tense moment in a small, somber office setting. The central figure, a businessman, is shown intently focused on a piece of paper, possibly reflecting his inner turmoil and struggles with depression. His furrowed brow and serious demeanor suggest deep contemplation. In the background, a second figure is partially visible, hinting at a conversation or therapeutic interaction. This scene captures the film's exploration of mental health and the challenges faced by individuals like John Murray during that era.

00:10:11.744 — The still from 'Feelings of Depression' (1950) depicts a tense moment in a small, somber office setting. The central figure, a businessman, is shown intently focused on a piece of paper, possibly reflecting his inner turmoil and struggles with depression. His furrowed brow and serious demeanor suggest deep contemplation. In the background, a second figure is partially visible, hinting at a conversation or therapeutic interaction. This scene captures the film's exploration of mental health and the challenges faced by individuals like John Murray during that era.

The still features a young boy with a subtle smile, dressed in a suit with a tie. His expression suggests a mix of curiosity and innocence. The context of the film 'Feelings of Depression' emphasizes the emotional struggles faced by individuals, reflecting the impact of mental health issues during the era. This image captures a moment that contrasts the film's serious themes with a youthful perspective, potentially illustrating early familial or social dynamics that may influence mental well-being.

00:10:15.782 — The still features a young boy with a subtle smile, dressed in a suit with a tie. His expression suggests a mix of curiosity and innocence. The context of the film 'Feelings of Depression' emphasizes the emotional struggles faced by individuals, reflecting the impact of mental health issues during the era. This image captures a moment that contrasts the film's serious themes with a youthful perspective, potentially illustrating early familial or social dynamics that may influence mental well-being.

The still from *Feelings of Depression* (1950) depicts a child building an igloo in a snowy backyard. The setting features a wooden fence with visible graffiti and bare trees, suggesting a cold winter environment. The image highlights themes of childhood resilience and playfulness, contrasting against the film's serious exploration of mental health, particularly the struggles faced by the character John Murray. This scene captures a moment of innocence and activity, providing a visual counterpoint to the film's examination of depression.

00:10:28.795 — The still from *Feelings of Depression* (1950) depicts a child building an igloo in a snowy backyard. The setting features a wooden fence with visible graffiti and bare trees, suggesting a cold winter environment. The image highlights themes of childhood resilience and playfulness, contrasting against the film's serious exploration of mental health, particularly the struggles faced by the character John Murray. This scene captures a moment of innocence and activity, providing a visual counterpoint to the film's examination of depression.

The still from 'Feelings of Depression' features a snow cave or tunnel, emphasizing a theme of isolation and introspection. The snowy environment symbolizes desolation, reflecting the emotional struggles of the protagonist, John Murray. This scene likely serves to illustrate the heaviness of depression, contrasting with the expectations of a warm, inviting space. The use of monochrome further enhances the somber tone of the film, capturing the bleakness associated with mental health challenges in the 1950s.

00:10:52.085 — The still from 'Feelings of Depression' features a snow cave or tunnel, emphasizing a theme of isolation and introspection. The snowy environment symbolizes desolation, reflecting the emotional struggles of the protagonist, John Murray. This scene likely serves to illustrate the heaviness of depression, contrasting with the expectations of a warm, inviting space. The use of monochrome further enhances the somber tone of the film, capturing the bleakness associated with mental health challenges in the 1950s.

The still from 'Feelings of Depression' (1950) depicts a young boy walking through a snowy environment, wearing a winter jacket and gloves, suggesting a cold climate. He appears to be holding a stick, possibly engaged in play or exploration. The backdrop features a wooden structure, indicative of a modest setting, contributing to the film's exploration of human emotion and everyday life. This scene subtly contrasts with the film's focus on adult struggles, reflecting the innocence of childhood amidst themes of despondency.

00:10:57.490 — The still from 'Feelings of Depression' (1950) depicts a young boy walking through a snowy environment, wearing a winter jacket and gloves, suggesting a cold climate. He appears to be holding a stick, possibly engaged in play or exploration. The backdrop features a wooden structure, indicative of a modest setting, contributing to the film's exploration of human emotion and everyday life. This scene subtly contrasts with the film's focus on adult struggles, reflecting the innocence of childhood amidst themes of despondency.

This still from 'Feelings of Depression' shows a young child emerging from a snow fort, smiling. The scene captures a moment of innocence and joy, contrasting the film's serious exploration of mental health issues experienced by adults. This juxtaposition reflects the idea of childhood happiness amidst the complexities of emotions and the struggles depicted in the film. The black and white aesthetic emphasizes the historical context of the 1950s, further highlighting societal perceptions of mental health during that era.

00:10:58.458 — This still from 'Feelings of Depression' shows a young child emerging from a snow fort, smiling. The scene captures a moment of innocence and joy, contrasting the film's serious exploration of mental health issues experienced by adults. This juxtaposition reflects the idea of childhood happiness amidst the complexities of emotions and the struggles depicted in the film. The black and white aesthetic emphasizes the historical context of the 1950s, further highlighting societal perceptions of mental health during that era.

The still from 'Feelings of Depression' (1950) features a young boy wearing a coat with fur lining, gazing pensively toward the camera. The image captures a moment of introspection, reflecting the emotional struggles portrayed in the film. Set against a backdrop of wooden structures, the scene symbolizes the early experiences of despondency that are central to the narrative, illustrating how such feelings can impact individuals from a young age. The film serves as an educational dramatization aimed at raising awareness about mental health issues.

00:10:59.259 — The still from 'Feelings of Depression' (1950) features a young boy wearing a coat with fur lining, gazing pensively toward the camera. The image captures a moment of introspection, reflecting the emotional struggles portrayed in the film. Set against a backdrop of wooden structures, the scene symbolizes the early experiences of despondency that are central to the narrative, illustrating how such feelings can impact individuals from a young age. The film serves as an educational dramatization aimed at raising awareness about mental health issues.

The still from 'Feelings of Depression' depicts a snowy outdoor scene where a child is emerging from a snowbank, indicating playful engagement. Another figure, presumably an adult, reaches out toward the child, possibly assisting or encouraging them. This moment captures the contrast between childhood innocence and the underlying themes of emotional struggle explored in the film, which seeks to address the complexities of mental health through relatable narratives. The visual aesthetic reflects the era's filmmaking style, highlighting both the starkness of winter and the warmth of human interaction.

00:10:59.792 — The still from 'Feelings of Depression' depicts a snowy outdoor scene where a child is emerging from a snowbank, indicating playful engagement. Another figure, presumably an adult, reaches out toward the child, possibly assisting or encouraging them. This moment captures the contrast between childhood innocence and the underlying themes of emotional struggle explored in the film, which seeks to address the complexities of mental health through relatable narratives. The visual aesthetic reflects the era's filmmaking style, highlighting both the starkness of winter and the warmth of human interaction.

The still from 'Feelings of Depression' (1950) features a young boy in profile, conveying a sense of introspection or sadness. The use of chiaroscuro lighting highlights his facial features, emphasizing the emotional weight of his expression. The textured background adds depth, creating a stark contrast with the boy's somber demeanor. This visual representation aligns with the film's exploration of mental health, illustrating the impact of emotional struggles from an early age.

00:12:17.170 — The still from 'Feelings of Depression' (1950) features a young boy in profile, conveying a sense of introspection or sadness. The use of chiaroscuro lighting highlights his facial features, emphasizing the emotional weight of his expression. The textured background adds depth, creating a stark contrast with the boy's somber demeanor. This visual representation aligns with the film's exploration of mental health, illustrating the impact of emotional struggles from an early age.

The still from 'Feelings of Depression' (1950) captures a somber moment featuring John Murray, a businessman experiencing emotional turmoil. He stands in a doorway, possibly symbolizing a transition between his internal struggle and the external world. His formal attire reflects his role as a conscientious individual, while his expression hints at despondency and the weight of his psychological challenges. The setting, with its simple decor, underscores his isolation, a theme central to the film’s exploration of depression and mental health awareness.

00:12:22.342 — The still from 'Feelings of Depression' (1950) captures a somber moment featuring John Murray, a businessman experiencing emotional turmoil. He stands in a doorway, possibly symbolizing a transition between his internal struggle and the external world. His formal attire reflects his role as a conscientious individual, while his expression hints at despondency and the weight of his psychological challenges. The setting, with its simple decor, underscores his isolation, a theme central to the film’s exploration of depression and mental health awareness.

The still from 'Feelings of Depression' depicts a poignant moment reflecting the emotional struggle of the protagonist, John Murray. In the image, a man in a suit stands with his back to the camera, suggesting distance or isolation as he faces a table with scattered items, possibly symbolizing disarray in his life. A child in a patterned sweater stands in the background, potentially representing innocence or the emotional ties that complicate the adult's despondency. The setting, characterized by a modest interior, underscores the personal and societal context of mental health issues in the 1950s. This educational dramatization aims to foster understanding of depression's impact on both the individual and their loved ones.

00:12:23.910 — The still from 'Feelings of Depression' depicts a poignant moment reflecting the emotional struggle of the protagonist, John Murray. In the image, a man in a suit stands with his back to the camera, suggesting distance or isolation as he faces a table with scattered items, possibly symbolizing disarray in his life. A child in a patterned sweater stands in the background, potentially representing innocence or the emotional ties that complicate the adult's despondency. The setting, characterized by a modest interior, underscores the personal and societal context of mental health issues in the 1950s. This educational dramatization aims to foster understanding of depression's impact on both the individual and their loved ones.

The still from 'Feelings of Depression' (1950) shows a pivotal moment where an adult man engages with two young boys, fostering a moment of connection through play. The scene underscores themes of familial interaction and the importance of emotional support in childhood development. This educational film highlights the impact of depression not only on individuals but also on their relationships with loved ones, illustrating a holistic approach to mental health awareness in post-war Canada.

00:12:48.401 — The still from 'Feelings of Depression' (1950) shows a pivotal moment where an adult man engages with two young boys, fostering a moment of connection through play. The scene underscores themes of familial interaction and the importance of emotional support in childhood development. This educational film highlights the impact of depression not only on individuals but also on their relationships with loved ones, illustrating a holistic approach to mental health awareness in post-war Canada.

The still from 'Feelings of Depression' (1950) shows a somber office scene featuring a man, presumably John Murray, seated at a desk. He appears to be deep in thought or distress, resting his face on one hand while holding a phone receiver in the other. The decor is simple, with documents and a glass of water on the desk, reflecting a typical mid-20th century office environment. The mood is heavy, capturing the essence of the film's focus on the emotional struggles associated with depression.

00:14:12.919 — The still from 'Feelings of Depression' (1950) shows a somber office scene featuring a man, presumably John Murray, seated at a desk. He appears to be deep in thought or distress, resting his face on one hand while holding a phone receiver in the other. The decor is simple, with documents and a glass of water on the desk, reflecting a typical mid-20th century office environment. The mood is heavy, capturing the essence of the film's focus on the emotional struggles associated with depression.

The still from 'Feelings of Depression' (1950) captures a pivotal moment in the film, showcasing John Murray in a contemplative state as he interacts with a doctor or counselor. The camera angle emphasizes his vulnerability, focusing on the back of his head while the professional figure is partially visible, suggesting an intimate yet formal setting. This visual choice enhances the theme of personal struggle with mental health, reflecting the film's educational aim of shedding light on depression in a post-war context, emphasizing understanding and empathy toward mental health challenges.

00:15:11.344 — The still from 'Feelings of Depression' (1950) captures a pivotal moment in the film, showcasing John Murray in a contemplative state as he interacts with a doctor or counselor. The camera angle emphasizes his vulnerability, focusing on the back of his head while the professional figure is partially visible, suggesting an intimate yet formal setting. This visual choice enhances the theme of personal struggle with mental health, reflecting the film's educational aim of shedding light on depression in a post-war context, emphasizing understanding and empathy toward mental health challenges.

The still from 'Feelings of Depression' (1950) features a young man, presumably depicting John Murray, deep in thought at a desk cluttered with books. A desk lamp casts a focused light, accentuating his contemplative expression. The setting conveys a somber tone, reflecting themes of introspection and emotional struggle, central to the film's exploration of depression and mental health awareness during that era. The grayscale aesthetic emphasizes the seriousness of the subject matter.

00:16:50.643 — The still from 'Feelings of Depression' (1950) features a young man, presumably depicting John Murray, deep in thought at a desk cluttered with books. A desk lamp casts a focused light, accentuating his contemplative expression. The setting conveys a somber tone, reflecting themes of introspection and emotional struggle, central to the film's exploration of depression and mental health awareness during that era. The grayscale aesthetic emphasizes the seriousness of the subject matter.

The still from *Feelings of Depression* (1950) shows a train station scene, with a young man leaning out of a train door, smiling as he interacts with a woman in a hat and gloves. Two other figures, one facing away, seem to be engaged with her. The composition captures a moment of human connection and potential departure, subtly reflecting the emotional complexities explored in the film regarding mental health and depression. The black-and-white aesthetic emphasizes the historical context of the era.

00:18:21.601 — The still from *Feelings of Depression* (1950) shows a train station scene, with a young man leaning out of a train door, smiling as he interacts with a woman in a hat and gloves. Two other figures, one facing away, seem to be engaged with her. The composition captures a moment of human connection and potential departure, subtly reflecting the emotional complexities explored in the film regarding mental health and depression. The black-and-white aesthetic emphasizes the historical context of the era.

The still from 'Feelings of Depression' (1950) captures a moment at a train station, showcasing two figures—a man and a woman—standing side by side, gazing at a train in the background. The woman, dressed in a vintage outfit with a decorative hat, appears to embody a mid-20th-century aesthetic, while the man is seen from behind, likely in a lighter coat. The scene reflects a time of travel and transition, paralleling the film's exploration of emotional struggles, particularly in the context of the protagonist John Murray's experiences with depression. The historical setting, characterized by the steam train, emphasizes the era's social dynamics and the significance of mental health awareness during the period.

00:18:30.409 — The still from 'Feelings of Depression' (1950) captures a moment at a train station, showcasing two figures—a man and a woman—standing side by side, gazing at a train in the background. The woman, dressed in a vintage outfit with a decorative hat, appears to embody a mid-20th-century aesthetic, while the man is seen from behind, likely in a lighter coat. The scene reflects a time of travel and transition, paralleling the film's exploration of emotional struggles, particularly in the context of the protagonist John Murray's experiences with depression. The historical setting, characterized by the steam train, emphasizes the era's social dynamics and the significance of mental health awareness during the period.

The still from 'Feelings of Depression' depicts a solemn male character, likely John Murray, standing in front of an industrial backdrop, suggesting a narrative centered on his internal struggle. The black-and-white aesthetic, typical of the era, enhances the film's serious tone, reflecting the themes of despondency and mental health. His expression conveys a sense of contemplation or concern, aligning with the film's exploration of emotional challenges faced by individuals in a post-war society. This educational dramatization aims to raise awareness about depression and promote understanding of mental health issues.

00:18:34.246 — The still from 'Feelings of Depression' depicts a solemn male character, likely John Murray, standing in front of an industrial backdrop, suggesting a narrative centered on his internal struggle. The black-and-white aesthetic, typical of the era, enhances the film's serious tone, reflecting the themes of despondency and mental health. His expression conveys a sense of contemplation or concern, aligning with the film's exploration of emotional challenges faced by individuals in a post-war society. This educational dramatization aims to raise awareness about depression and promote understanding of mental health issues.

The still from 'Feelings of Depression' (1950) depicts a pivotal moment in the film, featuring a tense conversation between two characters. One is seated at a desk, appearing engaged and serious, while the other, partially obscured from view, seems introspective. The setting suggests a formal environment, likely a consultation scene, characterized by period-appropriate decor and attire. This frame encapsulates the film's focus on mental health, illustrating the struggles of John Murray and the interpersonal dynamics of discussing depression.

00:19:38.244 — The still from 'Feelings of Depression' (1950) depicts a pivotal moment in the film, featuring a tense conversation between two characters. One is seated at a desk, appearing engaged and serious, while the other, partially obscured from view, seems introspective. The setting suggests a formal environment, likely a consultation scene, characterized by period-appropriate decor and attire. This frame encapsulates the film's focus on mental health, illustrating the struggles of John Murray and the interpersonal dynamics of discussing depression.

The still from 'Feelings of Depression' shows a woman conversing with a young girl on a tricycle in a park. The woman appears to be engaged and attentive, while the girl, dressed warmly, is looking up, perhaps responding to the conversation. This scene emphasizes the supportive relationships and everyday life moments that can influence mental health, a key theme of the film which addresses the emotional struggles of the protagonist, John Murray. The film aims to raise awareness about depression and suggests the importance of social connections in coping with mental health issues.

00:23:39.652 — The still from 'Feelings of Depression' shows a woman conversing with a young girl on a tricycle in a park. The woman appears to be engaged and attentive, while the girl, dressed warmly, is looking up, perhaps responding to the conversation. This scene emphasizes the supportive relationships and everyday life moments that can influence mental health, a key theme of the film which addresses the emotional struggles of the protagonist, John Murray. The film aims to raise awareness about depression and suggests the importance of social connections in coping with mental health issues.

The still from 'Feelings of Depression' (1950) depicts a serene park scene with three figures: a man and woman walking hand-in-hand while watching a child on a tricycle. Shadows from the trees stretch across the pathway, enhancing the tranquil yet somber atmosphere. This moment emphasizes familial connection and innocence, contrasting with the film's exploration of mental health struggles faced by the central character, John Murray. The stark black-and-white imagery reflects the film's post-war context and highlights societal attitudes towards depression during that era.

00:23:54.199 — The still from 'Feelings of Depression' (1950) depicts a serene park scene with three figures: a man and woman walking hand-in-hand while watching a child on a tricycle. Shadows from the trees stretch across the pathway, enhancing the tranquil yet somber atmosphere. This moment emphasizes familial connection and innocence, contrasting with the film's exploration of mental health struggles faced by the central character, John Murray. The stark black-and-white imagery reflects the film's post-war context and highlights societal attitudes towards depression during that era.

The still from 'Feelings of Depression' (1950) depicts a close-up of hands engaged in the act of cutting twine on a wrapped package. The hands are focused and deliberate, reflecting the attentiveness of the character, John Murray, a businessman facing emotional struggles. In the background, a newspaper headline that reads 'STOCK PRICE' hints at themes of business and financial pressures. This moment may symbolize his connection to work and the stress that contributes to his despondency. The black-and-white imagery enhances the film's historical context and emotional tone.

00:24:36.542 — The still from 'Feelings of Depression' (1950) depicts a close-up of hands engaged in the act of cutting twine on a wrapped package. The hands are focused and deliberate, reflecting the attentiveness of the character, John Murray, a businessman facing emotional struggles. In the background, a newspaper headline that reads 'STOCK PRICE' hints at themes of business and financial pressures. This moment may symbolize his connection to work and the stress that contributes to his despondency. The black-and-white imagery enhances the film's historical context and emotional tone.

The still from 'Feelings of Depression' (1950) depicts a tense moment in a counseling session. A businessman, John Murray, sits in a chair, visibly absorbed and possibly troubled as he looks at a book in his hands. His serious demeanor suggests he is grappling with emotional issues. In front of him, a woman, likely a therapist or confidante, is turned slightly away, her back facing the camera. This setup emphasizes the intimate yet difficult nature of their conversation, highlighting themes of despondency and the search for understanding in the postwar context of mental health.

00:24:48.887 — The still from 'Feelings of Depression' (1950) depicts a tense moment in a counseling session. A businessman, John Murray, sits in a chair, visibly absorbed and possibly troubled as he looks at a book in his hands. His serious demeanor suggests he is grappling with emotional issues. In front of him, a woman, likely a therapist or confidante, is turned slightly away, her back facing the camera. This setup emphasizes the intimate yet difficult nature of their conversation, highlighting themes of despondency and the search for understanding in the postwar context of mental health.

The still from 'Feelings of Depression' depicts a young woman seated in a cozy, domestic setting, engaged in reading a letter. She wears a floral apron, suggesting a homemaker role, and her expression hints at a moment of contemplation or emotional significance in her reading. The background features a lamp and a radio, contributing to a warm, intimate atmosphere. This scene likely underscores the film's exploration of personal feelings and relationships in the context of depression, reflecting social dynamics of the era.

00:24:57.296 — The still from 'Feelings of Depression' depicts a young woman seated in a cozy, domestic setting, engaged in reading a letter. She wears a floral apron, suggesting a homemaker role, and her expression hints at a moment of contemplation or emotional significance in her reading. The background features a lamp and a radio, contributing to a warm, intimate atmosphere. This scene likely underscores the film's exploration of personal feelings and relationships in the context of depression, reflecting social dynamics of the era.

Film Transcript / Subtitles

You You This is John Murray He was ordinarily a rather reserved and quiet man But everyone who knew him admired and respected him For he was hardworking, conscientious The kind of man you could count on But for the last couple of months something has been bothering John Many times he has seemed neither happy in himself nor useful in his business It has begun to worry the people closest to him His wife Catherine and of course his business partner Dave They don't know quite what to make of him lately Something that matters, John? Everything's the matter We're washed up, might as well face it We're not washed up Losing that Hagen's account doesn't mean we're ruined This is our biggest account It's my fault I shouldn't have been so ambitious I'm not blaming you Look, John It isn't your fault any more than it's my fault that Hagen's have closed out their local accounts Everybody's been hit, not just us This slump can't last forever It just means we've got to work a little harder I'm no use to this business I can't concentrate any more Worries me so much I can't sleep at nights Catherine says I ought to go to a doctor It's foolishness No doctor is going to fix a business that's going in the rocks I'm going out to the baron The people who work with him aren't worried about the business They are worried about John Say Dave, is Mr. Murray safe? I don't know John's depression baffles his partner Why should John feel that he has failed and that he is to blame? Hello? Hello, Catherine, I'm calling about John again Yes, Dave, I know He's still worrying himself sick over losing that Hagen's account He seems to think he's responsible and nothing I say will change my mind But that was months ago Besides it had nothing to do with him I'm sorry I'm sorry It was months ago Besides it had nothing to do with him Hagen's had to close out the accounts You know, Catherine, I think he's sick and won't admit it I do too He doesn't sleep well and he just picks at his food I've tried to get him to a doctor But he just says doctors can't cure a business that's going on John is right, of course No doctor can cure a business But the trouble doesn't really lie in the business But in John himself And the doctor who will help him to recover Will have to understand what John's life was like And what influences have shaped him John had a happy infancy He was the Murray's first child With a look or a cry He could command food, warmth and comfort from mother For a long time to come He will have an absolute need Of the love and security she affords him For the time being, it was John's world indeed And he was the center of it Like any of us, he wouldn't want to dispute it with an intruder Like the new baby mother brought home one day Actually, he was very curious about this little creature Who seemed to be usurping his place as the only one John, touch the baby Oh precious, precious baby He felt as if he had lost his mother's love He was too young to think clearly or understand clearly But not too young to feel deeply And his feelings often led him to interpret wrongly What he saw and heard Simple, ordinary things He woke up one night The house was full of noises You're not a well woman and you've got to get somebody in to help you We've been all through this before, you know we can't afford it Why shouldn't we get handheld her? You've got to be sensible about this I won't have that woman in my house, she's an old busybody Always sticking her nose into somebody else's That's not true, I won't listen to you talk about her like that To John's mind, this seemed to mean Daddy is mad at Mama because Mama is sick Mama said she had a lot of work to do I wanted to help her I liked helping Mama Life had become such a burden to John's mother in her illness But she couldn't help being hurt John, for heaven's sake, get out of here You're just a nuisance to me, go on outside She didn't mean anything, but to John she meant Go away from me, I don't love you I love Bobby instead Oh Bobby, stop that racket Outside it was wet and there's nobody to play with Mama didn't want me in the house A dog came I was glad Daddy came Daddy was always good to me A nurse came to stay at our house A nurse came to stay at our house One day Mama went away She didn't come back And Hilda came to be housekeeper for the Murray's after-all John could see that she was kind and friendly to Bobby He wanted someone to baby him too For in his loneliness he needed a mother Long ago he too was loved and fussed over He was a mother Long ago he too was loved and fussed over He will be a baby again You dirty boy, just look at your hands Get right on up to the bathroom and clean yourself up A big boy like you His attempt to win affection by imitating his younger brother ends in failure As such attempts always do eventually John must learn not to retreat in the face of his loneliness But to grow up He didn't tell you to go away He liked me to be with him One Saturday morning he took me to the office He just took me He made Bobby stay home with Auntie John had lost his mother and Auntie had failed to take her place He looked to his father for everything he didn't get from the others Okay, Bill, I'll be right over Bye Johnny, you stay here and mind the office, eh? The office was a swell place The people were so nice They even knew my name Good morning, Mr. Mary Good morning Someday I'm going to meet just like Daddy And do everything just like he does And when I get bigger on you're working in the office too At the paper company Hello? At the paper company Hello? At the paper company Hello? Just some kid playing Daddy never gets mad at you Not really mad, whatever you do Why you little rascal Sometimes he pretends that that's just fooling Daddy was perhaps too important for John As the one remaining source of security and love John has made him both father and mother Someday Daddy, being human Will fall short to the enormous emotional demands That John has imposed upon him He never forgot one day In the winter I made a snow house I worked every day after school making it Now it was ready It was just big enough for me to sit inside It was a beautiful lake too I just needed one more thing I went to get it from Andy Please Get out of there That's my house Get out of there I hate you I hate you so bad John, stop that you wicked boy And he sent me to my room. She said Daddy would thrash me. It was Bobby's fault. He broke my house. Daddy should get after him. He'll know it was Bobby. Bobby. Hello, Bobby. What happened to you? Johnny hit him for no reason at all. He just acted like a crazy thing. Really, you'll have to do something about that child. I'm sure I can't manage him. I'll look after him. He doesn't know. Then you'll try to find out. You've hurt your brother. I'm going to teach you a lesson so you will never do that again. Go to my room. That was the only time his father beat him. John never forgot that lesson. And John never really forgave his father. There were many happy times, of course. James Murray always tried to be a good father to his boys. But John never felt quite the same about him again. It would be almost impossible for any father to satisfy the unending emotional needs of such an insecure child as John. By the time John was in college, or supported by his father, he did not suppress a growing revolt against him. He keeps telling me I should take a commerce course. Just like my dad. You know, he still thinks I'm going into the business with him, sort of following his footsteps. He should see it. He pokes around the office all day and comes home and has supper and then says, well, I guess it better go back to work. See, he's got nothing else to do. That's the sort of thing they want to get me into. Not for me. He's always kidding me about writing. He doesn't know is that someday I'm going to be a writer. Are you going up to see him now? Sure. I'll be right back. John's dreams were very different now, and he despised a father who couldn't share them. He couldn't seem to help irritating his father sometimes. I'll work on it over the weekend. Yes, I'll see if I can get it out to you first thing Monday morning. Goodbye. What brings you to the office, John? I hate to bother you, but could you let me have five dollars? Let's see. Two, four, five. There you are. Thanks. What's it for? Are you going to buy another one of those books, yours? What's the matter with buying books? Anyway, I'm going to a show tonight. It must be quite a show. John! John, I don't mind giving you money, but you must remember, it doesn't grow on trees these days. I know, I'm going to pay you back. Bye, John. Bye. Within a year, James Murray was dead. He left no insurance and very little in the bank. He had not been a very successful businessman of recent years, and it was a great sacrifice for him to keep John at school. John had to leave college and go to work in the office. Thank you. I was wondering how you were getting on with night school, John. All right, I guess. I suppose you find it quite a change after college, eh? Oh, I don't mind that so much. Somebody has to look after Bob. I don't mind that so much. I don't mind that so much. I don't mind that so much. I don't mind that so much. I don't mind that so much. Somebody has to look after Bob. You know, I can't get over Dad. I used to make fun of him sometimes for working so hard. Things like that. It was for me and Bob. I didn't know. If you don't... I didn't know. With his newer responsibilities, John has put aside his old ambitions. However, he could help Bob to realize his. In a way, he became a father to Bob. He was happy helping him and sharing his successes. I remember that. Memorizing is easy if you get the sense of it. Let's see. Be not afraid, the isle is full of noises, sounds and sweet airs that give delight and hurt night. Sometimes a thousand twangling instruments will hum above my ears. And sometimes voices that if I then had waked after long sleep will make me sleep again. And then in dreaming, the clouds me thought would open and show riches ready to drop upon me. But when I waked, I cried to dream again. Go on. Can't tonight I'm afraid I've got that exam in business law. Contracts. You know what a contract is? A contract is an agreement between two or more parties to do or not to do a certain transaction or service for... You wouldn't have to work every night if you hadn't wasted all your time on them poems and nonsense and taken that course that your father wanted you to. I used to say to your father, you give him his own way too much. If you've paid more attention to him, heaven knows. But it's too late for that now. Bob was a very clever boy. Helped by John's coaching, he won a small scholarship which took him away to a distant university. John still had to support him financially. John was proud of course. Bob's success in a way was his own success. But he felt empty and desolate to see departing the only person in the world for whom he felt any warm affection. He didn't know yet how hard it was going to be to enjoy his brother's successes at long distance. When Bob came home for the Christmas holiday, he found that John had changed. One night there was to be a party. Come on, hurry up. We're going to be late. I'm not going. What? I've got work to do. What are you doing? Okay, we'll be right out. Come on, get your things on and hurry up. You go with them. They're your friends, not mine. Oh for Pete's sake, you know Tom and Janet. Look, I've got work to do, that's all. Nobody has to work that hard. You go on. Have a good time. I sure will. With his self-sacrificing attitude, he has succeeded only in marring his brother's happiness and his own. Does he enjoy staying home alone, cutting himself off from any sort of ordinary pleasure? I heard what you said. Ma, I'm glad you're not going to get mixed up with these modern girls. They're not what they were in my day. You know, Mrs. Firsten was telling me just the other day about a fine, hard-working young man. Took up with the girls, spent money on her like water. And what do you think she did? She ups and leaves them for the no good that hasn't got two nickels to rub together. I know, Andy. Women are all the same. Well, that's not a very nice thing to say. As the years passed, John seemed to have chosen for himself a lonely and a steer life. Most nights he worked, but without any very definite aim in mind. Hello? I have a collect call from Mr. Robert Murray. Will you accept the charges? Yes. Go ahead, please. Hello, Johnny? Hello, Bob. You're elected to be best man at my wedding. What? It's on the 18th, so you will have to be here by the 17th. Janet and I will meet you at the station. Janet? My child. Janet? Janet. Janet? Janet? Janet. Janet. Janet. Janet. Janet. Janet. Janet. You want to congratulate me? Of course. Congratulations. But I didn't know anything about this. I should have written you, but I've been terribly busy the last month or two. What about your course? Well, everything's all settled. They've appointed me special lecturer for next year, and it's a perfect setup. But I have enough money to live on comfortably, and I'll have loads of time to work my writing. It's wonderful. All of a sudden, I've got everything I've ever wanted. It sounds silly to say it, but really, it seems too good to be true. Well, say something, Johnny. That's wonderful. I'm very glad for this. I'm sorry to be spending our money a long distance like this, but it's once in a lifetime, and I couldn't wait to tell you. See you on the 17th, okay? Sure. I'll write you tonight. Goodbye, Johnny. Bye. It was wonderful news. John's years of sacrifice had been worth it, after all. But Bob no longer needed him, and he could no longer claim his share of Bob's successes and happiness. Nobody needed him. He was finally alone. He wanted to rejoice in Bob's good fortune, but he felt tense and anxious and suddenly very sad. He couldn't understand the way he felt. Next morning, he had no heart for his work. He couldn't understand the way he felt. He couldn't understand the way he felt. Next morning, he had no heart for his work. The crust of routine couldn't hide from him, a suddenly aroused hunger for a warm human relationship. Mr. Murray? Yes? I thought you didn't look yourself this morning. Perhaps you'd like a cup of coffee. That's very kind of you. Oh, it's nothing. Do you want me for anything else right now? No, I don't think so. I'll go to lunch then. Your simple, kindly gesture stirred him tremendously. Miss Simmons, I wonder, would you like to go to lunch with me? Why, yes. That would be very nice. I'll get my hat. Well, blow me down. Six months later, John and Catherine were married. Catherine satisfied his longing for affection and kindness, so often frustrated in the past, and he was happier than he had been in a long time. But John was not yet securely at peace with himself. As long as the routines of everyday life flowed smoothly, John would be all right. But he sometimes felt that he didn't deserve his happiness. Thank you, John. Hello, Catherine. Of course, he was always something of a worrier. For some time now, he's been worrying about business conditions. There was a general recession, which had begun to affect John's firm. There's a parcel for you, John, from Bob. A piece of critical study by Robert James Murray. This book is a promise that will me expect great things from Mr. Murray. Wonderful, John. Janet's going to have a baby next month. They're very lucky people, aren't they, John? Yeah. That night, John couldn't get to sleep. He felt disturbed and angry with himself. The next day, though usually punctual, he was late getting to the office. Dave, good morning, John. I'm afraid there's bad news. I'm glad to get you by phone, but I guess you'd already left. Hagen's man was there. He says things are so bad, but family decided to close out their local account with us. Twelve years trying to make something out of this business. And this has to happen. Hello? Just one minute, please. It's for you, John. What's the noise? Could you call later? Thanks. Mr. Murray? Don't worry. He'll get over it. Hagen didn't. A month later, he was still suffering periods of great despondency. He seemed to have lost interest in his work, and at home he often worried and upset Catherine. Yes. Yes, I'll have him call you. Yes, goodbye. Where's the first of your teeth, John? Out? Out where? On your phone. You know I've been keeping dinner since six o'clock. I went to a show. Afterwards I went for a walk. Why did you take me? Didn't know whether you wanted to go with me or not. Oh, for heaven's sake, of course I'd want to go with you. Why not? Well, I thought you might be tired of having me around all the time. Sometimes I don't know why you want to bother with me at all. So many other people are smarter and more interesting. What is it, silly things? Now look, you know I love you. Don't be such a baby. To the people close to him, John has become a mystery. He loves his wife and his work, yet he seems to be inviting disaster with both. Dave and Catherine have tried to reason with him, but he exasperates them. As they say, he won't listen to reason. He will not because his difficulty lies not in his reason or intelligence, but far back in his emotional history. Through his depression, he is hurting himself. To put it another way, he is punishing himself because he feels guilty. The world and John are aware only of his conscious self, the generous, self-sacrificing man who has worked so hard to further the interest of his brother. The world cannot see and John cannot allow himself to be aware of the buried resentment which all his life he has borne towards his brother. He has learned to bury these feelings of jealousy and resentment, but they can still be stirred up by events. When John's business reverses coincide with his brother's final success, he becomes victim of a struggle with conscience. This struggle shows itself as depression. Its main victim is John himself. By blaming business conditions for all his troubles, he is really attempting to stifle a dim, unwelcome voice that says, I am guilty of mean and base feelings towards my own brother, therefore I do not really deserve to be esteemed and loved. The punishment which John most fears is the withdrawal of love, for in him there is a desperate longing for affection which he has found hard to satisfy ever since early childhood. Now he has almost got it, but he cannot really enjoy what he dimly feels he doesn't deserve. But his story need not be a sad one. He may even recover from his depression spontaneously, but usually a man like John needs help. Psychiatry has growing resources for helping him. It can help him to understand himself and his history. And with this understanding, he will find his way towards a fruitful release of his rich abilities and his long repressed capacity for enjoyment and warmth and happiness. And he will be able to share that happiness in a freer and more enduring way with those whom in his fumbling way he has loved so much.