David and Lisa

"David and Lisa" is a made for TV remake of the 1962 film by the same name. I read in another review that the original film was better, but as I haven't seen it I have no way to compare the two. What I do know is that I liked the film...possibly due, in part, to my history working in the mental health field.

When the story begins, David (Lucas Haas) is brought to a residential treatment program for the mentally ill. It's not a hospital per se, but more of a residential home. Why is David there? Well, he's extremely depressed and obsessed with death...to the point where he's practically non-functional.

At first, David is extremely hostile and guarded. It's obvious he's afraid to have close contact with others...both physical and emotional. Because of this, therapy is difficult for him. However, after he develops a friendship with a disturbed patient who only talks in rhymes, slowly he begins to allow others near him...and he appears to have excellent insight into her problems, though not of his own. Where is this friendship going and do either stand a chance of living a normal life?

Seeing two sick people learn to help each other is very touching. Both seem to have a lot to offer the other. I also appreciate the writing and performances, as I was a social worker and psychotherapist and appreciate the film and its message. Not an easy film to see...but worth your time if you allow it.

This may have come about under the aegis of Oprah Winfrey, but don't let that put you off; "David and Lisa" is far more watchable than her self-titled opus. (Another British viewer complained that She Who Thinks She's God appears in an intro before the movie starts; this is the case on video and on its US screenings, but I watched the movie on BBC2 and her appearance was removed, for which much thanks. Less justifiably, the Harpo logo was also absent - I don't like Oprah, but I like end credits.)

Though Sidney Poitier is top-billed, Lukas Haas is the real star of the movie; he plays an articulate and intelligent young man who's very disturbed - he suffers from a recurring nightmare involving "clock executions," and has a severe phobia about being touched, all of which accounts for his widowed mother (Allison Janney from "The West Wing") sending him to a special institution.

This movie is basically a love story, and the object of his affections - though it takes him a while to realise it - is a fellow patient played by Brittany Murphy (anyone seeing this after "Girl, Interrupted" and "Don't Say A Word" will probably not be surprised). Given to speaking in rhyme to make her internal demons go away, his interest is at first clinical, but eventually...

Compared to "The Bell Jar" (the book, that is - I haven't seen the movie version), this isn't particularly wrenching, but it isn't meant to be. Blessedly non-sick-making, sensitively told and generally well-performed (some of the freakouts may seem overacted, but how far is too far in cases like this?), "David and Lisa" is an involving story right up to its final scene - there's no real miracle cure, instead a suggestion that they're heading in the right direction. (And unusually for a love story, the two never kiss.)

And to the person who complained about Marco Beltrami's music; in addition to being above-average for TV, it must have been a refreshing change for him to score a movie not about serial killings. Fans of him (and Haas and Murphy) should tune in.

"David and Lisa" is a beautifully updated version of this love story by Theodore Isaac Rubin. It shows careful research into modern psychiatry.

I had to watch this movie in Psychology class, and I thought it was amazing! It was a movie that I actually enjoyed watching at school, which is a rarity. The actors played their roles expertly. I am so glad they chose Brittany Murphy for the role of Lisa. She had all of the emotions needed for this part. WOW! It was truly a touching story, and I'm glad this movie was remade...I would like to get a copy...My teacher taped it off of TV, and she can't find a copy ANYWHERE! If anyone can help me out I would greatly appreciate it. Please email me at ladylemon2006@aol or carmello2006@hotmail.com. thanks a lot, and everyone should see this movie. You wouldn't regret it. There is never a dull moment!

This isn't a terrible movie, but to be honest, I'm baffled by all the praise it's received. The dialogue seems artificial and somewhat dated--David in particular has an extremely stilted manner that I'm not sure is actually intentional. In the first half of the movie he stands up abruptly and then turns away at least once a scene, and his various panic attacks are weirdly awkward and artificial. I'm not sure that this is Haas's fault--when I first read the original play about 8 years ago, I was instantly annoyed by David's character. I personally have a good deal of experience with mental illness, etc, and something about him didn't quite click. Once David was allowed to develop a little (and once he wasn't forced into these constant, over-the-top breakdowns), Haas's acting ability shows. I really would have liked to see more insight--more introspection--but because the director insisted on sticking directly to the play, this wasn't possible. The plot is decent; why couldn't they use that as the framework?

He changes as a result of Lisa, but we don't really see how or why. As a result, we end up with this sappy, unrealistic sort of "love conquers mental illness" story. What, is David cured now? He and Lisa haven't even had a real conversation when the movie ends; we're left with the idea that perhaps their relationship will develop into something fascinating...

...and then the movie ends. Damn it.

Murphy does decently as Lisa, considering what she's given to work with. And Poitier does wonderfully despite the dialogue, of course, but everybody else in the film seems vaguely out of place. Maybe it has something to do with the fact that there's still something very 1962 about the thing, and mental illness research has come a long way in 40 years. David and Lisa has its great moments--especially as it progresses--and I suspect that Haas in particular could do better in a different movie.

Even this one could be really good, but it just falls short somehow...probably as a result of the dialogue, which still seems straight out of a 60's play that was revolutionary in its time but has since become distractingly dated. (I am aware that they have made some changes to the slang, but there's more to speech than that.) Anyway, with some modifications in regards to the telling of the story and especially the character development, I think that it could be a much better movie. As it is, it's pretty unremarkable.