Pasiones secretas

It's always interesting to see how the art of cinema... a form of expression which much too often suffers under an audience and financial backers who demand simple entertainment, easily taken in and processed... deals with topics that are more complex and intricate than can be explained to the common movie-goer in a limited space of time, that being between an hour and a half and about three hours(in recent years, there has been a return of the longer running times... for better or for worse, and with ranging success). Psycho-analysis was also dealt with by the master of suspense himself, Alfred Hitchcock... in Spellbound, in 1945. He, as Huston does here, gave it a fair treatment, though oversimplifying it some. What's interesting is that Huston, while his film seems to be the lesser known, is actually the better representation of the subject(though, mind you, not necessarily the better film). This deals with Freud and his discoveries, following him for half a decade, giving what may be a fairly accurate account of his first work with hypnosis and psycho-analysis. We see a few of his patients, and the film focuses on him as he works on one particular patient... whose symptoms strongly resemble some he, to a (considerably) lesser degree has himself, and we experience how he develops and presents(and is met with strong protest and outrage, as he indeed was in real life) one theory which would become a cornerstone of his psychological writings and his view on man. I will not reveal what it is here, but anyone should know what he believed before watching this, since it is a rather provocative idea(and it is somewhat glorified in this film... Freud comes across as more of a misunderstood genius than the hopeful man(who did yield some important and interesting discoveries) that he was in real life). The cinematic values of the film are fine... the pace could have been more consistent(it should be noted that I watched a cut that was 120 minutes, not 139, long), and there are one or two scenes which seem obsolete, but there's little else that stands out, neither positively nor negatively. The film's score is dramatic, but that is not uncommon for a movie of that period. There are several nice touches in the film, in regards to who it is about... among them the Freudian slip in a scene with a patient. I recommend this to anyone interested in psychology, regardless of their view on Freud... it's interesting to watch, and fairly nicely done, to boot. Just keep in mind that it's neither a documentary nor a proper biographical film. 7/10

Huston does very good work here, using a fine script in presenting the story of Freud not as a standard biography, but concentrating only on his initial work in examining the effect of the subconscious mind on conscious (though perhaps involuntary) actions - an idea believed preposterous at the time. The narrative is presented essentially as a psychological detective story, as Freud tries to discover the root causes of one patient's multiple afflictions and aberrant behavior, none of which has any physical cause. The film uses depictions of memories, dreams, thoughts as visual clues - all progressively revealing more - to lead us (and Freud) steadily closer to the underlying truth in the case, as well as in other areas disturbing him.

The opening and closing narration (by Huston) is effective, though the occasional narration he does as the story progresses bothered me a little; it was as if they felt there was something missing from the film which had to be explained in voiceover, and it also pulled me out of the story momentarily. Probably it would have been more effective if Clift (rather than Huston) had done the narration, from Freud's point of view, in the body of the film.

The film, which maintains a serious, fiercely somber atmosphere throughout (similar to The Elephant Man though perhaps more so here), does not proceed with any real speed - you'll need to stay with it; and the dark, harsh style of photography and music (while effective) might be difficult for some viewers. You need not agree with Freud's concluding theories (many of which are not held in particularly high regard today) in order to recognize the importance and validity of his primary methods and pioneering work in what was then a highly ridiculed field. 8 of 10

While this film would never set the box office on fire in today's world, there still remains a place for serious, intelligent, albeit talky ventures such as this. Plot is presented as a series of case studies, none of which are particularly convincing. Montgomery Clift's portrayal reveals just as much about the troubled actor himself as it does about Freud. If you've ever wondered what happened to Susan Kohner after her knockout performance in "Imitation of Life," she turns up here in her final film appearance in a very low-key minor role as Freud's wife. Too much attention is paid to Susannah York's character, plagued with a host of psychological ailments. David McCallum's Oedipus complex is far more compelling. The dream sequences are artfully conceived and photographed, adding a spark of excitement to the proceedings. Kino Lorber DVD transfers contain some truly awful commentaries, but this time film historian Tim Lucas' fact-filled narration is as interesting as the film itself.

I saw this film 40 years ago and see that no VHS is available,

which is a pity. It is much better than "The Young Freud" which has

recently been showing on PBS. It captures in some depth the

creativity and uniqueness of Freud's early discoveries, which were

amplified by him and others throughout the 20th century and into

the 21st. We see him doggedly and devotedly looking for the root

causes of a psychological illness which masqueraded as a

physical (neurological) illness for centuries. His discoveries,

stemming from this time, have greatly influenced modern thinking,

such that we call our times "The Age of Anxiety." They have led to

the appreciation of childhood sexuality and abuse and have taken

psychological abuse out from under the carpet, where these

pivotal events have been hidden for centuries. Freud was able to

see the classic appeal of the Greek tragedies and interpret why

they retain their power and are performed today, 3000 years later!

What happened to the dream scene? This film is now at long last available on DVD. Unfortunately this new DVD version is still missing the dream scene that I clearly remember seeing on the films cinema release back in 1962. It occurs when Freud can't follow his fathers funeral into the cemetery. Instead he faints and then we are plunged into his famous dream - the one about "the eyes shall be closed". (Freud recounts it I believe in The Interpretation of Dreams). In the film the only remnant of the dream remaining is a night time shot of noisy train pulling out of a railway station. Thats the tail end of the dream for anybody wondering what it is. Then Freud describes to Breur what the dream was about. Why this scene is repeatedly cut from the few bootleg versions available and now the new DVD version I have no idea. Its a pity because like the other dreams in the film it was impressively filmed by Huston.