In Context
Book
Neurology behind the lens
In 2017, during my time as a neurology fellow in the
Netherlands, I was tasked with capturing the essence
of a lesser-known dimension of Parkinson’s disease. My
supervisor had astutely noticed that some features of the
condition could be heard in addition to being seen, thanks
to an elite violinist who sought help because he was unable
to play the violin as well as he used to. When I discussed my
research with friends and colleagues, I was advised to see
the film A Late Quartet (2012), starring Christopher Walken
as a world-renowned cellist (Peter) who developed
Parkinson’s disease. To my surprise, I realised we were not
the first to acknowledge that some signs of Parkinson’s
Published Online disease could be heard. Peter had noticed during a rehearsal
September 22, 2022 “our vibrato does not match”, which prompted him to
https://doi.org/10.1016/
S1474-4422(22)00310-6 consult a neurologist. Eelco Wijdicks’ book, Neurocinema:
Neurocinema: the Sequel—a History of Neurology on Screen, celebrates the
the Sequel—a History of educational, insightful, and (at times) prescient power of
Neurology on Screen neurology, seen through the lens of a filmmaker.
Eelco F M Wijdicks
CRC Press
Neurocinema: the Sequel follows on from Wijdicks’ 2015
ISBN 9781032220024 book, Neurocinema: When Film Meets Neurology. This latest
£38·99 work is comprehensive regarding most things neurology
taking place on screen (Wijdicks acknowledges that
covering all neurological features portrayed on television
or in film would be impossible). The book is an analysis of
how neurological disorders and the people involved are
portrayed in films and documentaries, and the author’s
goal is to explore “whether film from a neurologic
perspective can provide insight and debate”.
The considerable toll of neurological disorders on
patients and their families, and the general public’s
interest about the inner workings of the human brain,
might explain why neurological topics are increasingly
portrayed in the media. For a neurocinema enthusiast,
this would be reason enough to undertake the Herculean
task of reviewing so many films about neurology, and
distinguish those that contain accurate descriptions
apt for teaching (scoring three to four reflex hammers,
according to Wijdicks’ rating) from the ones with incorrect
depictions (one to two reflex hammers). However,
Wijdicks is also interested in the underlying meaning of
the filmmaker’s choice of topic, ranging from personal
coping mechanisms to raising societal awareness.
The numbers of footnotes and references in the book
are impressive, and Wijdicks expertly reviews more than
180 films and documentaries. Wijdicks’ writing style is
both scholarly and that of an aficionado (“well done,
Eddie Redmayne!”). This combination makes the book
a very enjoyable reading experience, and not simply a
catalogue of neurology films.
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The book is divided into several sections: the introductory
chapters showcase how medicine and neurology have been
displayed in film over the years. Later chapters expand
on films that illustrate core neurology topics, addressing
neurological signs and symptoms and major neurological
disorders, such as stroke and Alzheimer’s disease. The book
contains a separate category for films addressing ethical
issues, such as physician-assisted suicide and institutionalis­
ation. Celebrities who have endured neurological diseases
and whose lives have been portrayed in film or documentary
are discussed in their own category. Notably, Wijdicks
decided to provide a separate chapter for themes that
overlap between neurology and psychiatry, specifically
functional neurological disorder and neurological disorders
with psychiatric manifestations, such as autoimmune
encephalitis. Wijdicks begins this chapter by presenting
his own view on the boundaries and intersections of the
two medical specialties, adding nuance and context to the
interpretations that follow.
One of the final and most entertaining sections of the book
is Neurofollies in Film, featuring films in which neurological
concepts are grossly misrepresented or the plot is simply
absurd (from a neurological viewpoint). In this part, Wijdicks
uses pinpricks to rate a film: one pinprick signals minor
discomfort from an improbable plot, and three pinpricks
indicate severe pain from a wildly imaginative storyline. In
The World is Not Enough (1999), James Bond faces an able-
bodied terrorist with a bullet in the medulla, which makes his
opponent impervious to pain. The squirming neurologist in
the audience with three pinpricks under the seat (courtesy of
Wijdicks’ rating system) might wish for a similar impairment.
However, it is important to stress that Wijdicks does not fall
into cynicism and intellectual superiority. On some occasions,
he seems genuinely impressed by the screenwriters’
imagination. The book ends with a personal reflection of
how neurocinema can be used for teaching purposes and
to bring about new perspectives on our reality. Wijdicks also
provides his much-requested list of top-ten films.
Wijdicks takes us on a journey throughout neurology, as
shown on screen. The reader is treated to a comprehensive
study of the subject, written in an informative and pleasant
manner. In the final pages, Wijdicks reflects on how these
stories about neurological impairment are able to convey
hope and dignity and allow us to attain a deeper meaning
about our profession—and even ourselves. Regardless of
the art form, I find this to be very true. So please, put your
smartphones into flight mode, and enjoy.
Rui Araújo
www.thelancet.com/neurology Vol 22 January 2023