FREUD: THE SECRET PASSION

US, 1962, 140 minutes, Black and white.
Montgomery Clift, Susannah York, Larry Parks, Susan Kohner, Eileen Herlie, Fernand Ledoux, David Mc Callum, Rosalie Crutchley, David Kossoff, Joseph Furst, Eric Portman.
Directed by John Huston.

Freud is reminiscent of the Warner Bros. biographies of the 30s. However, it takes advantage of a more frank and open cinema of the '60s. It is not so much a biography of Freud (though those elements are present - allowing for some post-production cutting from the earlier part of the film); it is rather a study of Freud, his methods and insights and their application to psychological illness. The impact of his theories and therapy in the late 19th. century are also presented. One gains a satisfying popular insight into Freud in his times, the growth of his insights, their being tested, their relationship to his own experience.

Montgomery Clift is a tormented Freud. He had just worked for John Huston in The Misfits. Susannah York, in one of her earliest films, is effective as the troubled Cecily. The supporting cast is an interesting group of character actors, especially from England. The film is effectively made in black and white, with Jerry Goldsmith's musical score and electronic variations. The blend between reality and fantasy is shown in some striking special effects styles.

John Huston has had a long career as actor, writer, director. He has written some classic films including The Maltese Falcon and The Treasure of the Sierra Madre, for which he won an Oscar. His films range from popular entertainments to much more serious explorations of the human condition ranging from The Red Badge of Courage, The Asphalt Jungle, The African Queen, Night of the Iguana, Wise Blood. An entertaining companion film is Herbert Ross' version of Nicholas Mayer's enjoyable fantasy, The Seven Percent Solution, in which Dr. Watson tricks Sherlock Holmes into visiting Freud. Alan Arkin is Freud in that film.

1. An interesting insight into the life, work, theories of Freud? Freud's reputation in his own time? His influence on 20th. century thinking and psychological practice? The praise of Freud, the fear of Freud? Many responding to Freud out of prejudice or ignorance? Audience interest in psychology and psychological theory and therapy?

2. The style of treatment of Freud in the film? The reverent introduction? The presentation of his research, theories, the influence of his life on his own theories? The film ending with Freud on the brink of fame and strong impact on the 20th. century?

3. How well did the film blend biography with the study of Freud? The drama of Freud's own life and the criticisms of his contemporaries? His family life? The influence of his own life on his theories? The dramatising of his theories? The dramatisation in the styles of the times? The film's screenplay raising issues about the nature of man, philosophical questions, medical questions, psychological questions? The ethics of therapy?

4. The structure of the film: the focus on 1885? Freud at a particular stage in his life - relationships with his family, wife, peers, patients? The presupposition about his work and ambitions? His use of particular styles of therapy? The introduction to Freud's use of hypnosis for treating hysteria? Theories of repression? Sexuality? Complexes, especially the Oedipus complex? Dream? The intertwining of the dramatising of mental illness with the biography?

5. Montgomery Clift's presence and style as Freud? His visual appearance, way of speaking, manner? A serious and intense man? His relationship with his mother and father and the critique of this? His relationship to the other members of his family? The difficulties of relationship with his wife? His friendships with his peers? His response to the criticism of his peers? Freud seen at work, his reflections on his work, his attitude towards opposition? The focus on the relationship between Freud and various patients, the principal focus on Cecily? How persuasive was Montgomery Clift as dramatising Freud?

6. The medical and psychological world of Vienna? The hospitals and the demonstrations of therapy? The critique and ridicule of Dr. Meynert? The vindication of his theories at the end? Freud's visit to Paris and demonstrations of hypnosis and hysteria? The effect on those observing? His beginning to talk of the unconscious, the interrelationship of the physical and psychological?

7. Dr. Breuer and his support of Freud? Their talks? Friendship? The questions of hypnosis and Dr. Breuer's study of it? His observations of Freud's practice? The problems of transference? The question of Cecily? The denunciations of Freud and the appeal to Dr. Breuer? His inability to support Freud at the end?

8. Cecily as a character and as a dramatic device? Susannah York's skill in presenting her as a character, as a demonstration of neurotic symptoms? As patient needing therapy and healing? The hypnosis sequences? The analysis of her hysteria? The significance of her father's death and the police? The blurred image and Freud's ability to get her to see clearly that it was a brothel where her father died? The dramatic techniques for the transition from hospital to brothel? The portrait of her father, the words associated with her father and the associations of the words? The discovery by Freud of imaginative and verbal association and his preference for this rather than hypnosis? The gradual stages and partial cures? Cecily's participation in her therapy? The importance of the emphasis on sexuality? Prostitutes and her childhood memories of her mother's reaction? The memory of her father's rape? or an invention? Symbolic feelings repressed and imagined? The significance of her dream? The word putain? Joseph? The red tower? The motto? Clothes and her father? Death? The dream and a pursuit of her father? Thews and love and hate in her life? The various images of her father and herself? The true portrait of her father emerging? Her mother and the story of the past? Strokes or not? Her visit to the red tower? Suicide themes? The gradual process of liberation and healing by psychoanalytic methods?

9. The problem of transference and Cecily's needs? Freud's needs? Her attachment to Dr. Breuer? The comparison of Breuer's treatment with that of Freud? The farewell to Dr. Breuer? Her falling in love with him? The transference of her feelings to Freud? The comparison with the relationship of Freud to his wife? Her reading his material? Her wondering about her own place and the marriage? Their talking together and her support?

10. Freud's own insights into his life? The memories of his father and his father's death? The clock breaking? the discussions with Dr. Breuer? The funeral? Freud's fainting and his dream? His closed eyes, the station, inability to walk? The father's scenes with the mother? Freud's young memories? Association with sexuality, particular room, his mother's wishes, the jealousy of his father? Freud and his reading into situations more than was there? His own jealousy? His discovery through dreams and his treatment of Carl von Schlosser of his own complexes? Grief and lack of grief? In understanding of himself through psychoanalytic methods?

11. he style of the film in building up a casebook of Freud's treatment? The nature and quality of his research? His intuitions into the human condition and his playing hunches in therapy?

12. The dramatisation of the supporting cases: the early examples of hypnosis and the use of needles etc.? Carl von Schlosser, his interviews, the establishing of the Oedipus complex, his manner of speaking, acting, the homosexual overtones? Freud's revulsion? His dream, von Schlosser's death and the sense of responsibility?

13. Freud gradually establishing respectability as a therapist? Greater acceptance of his theories? The resistance in Vienna? The build-up to confrontation? The appeal to Dr. Breuer who was unable to support his friend?

15. How well did the film present to the popular audience various aspects of psychoanalytic treatment, the unconscious, freedom and healing, the sexual bases for trauma?

16. The film as a satisfying tribute to Freud, a learning process, insight into his personality and methods, his place in 20th. century thinking? A satisfying and cinematic tribute?