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Janet Margolin as Lisa was not only beautiful, but her smile, as another commenter stated, "could light up the darkest room." It's true. She was very likable. While David wasn't "likable", he played his part very well, and became more sympathetic as the movie went on. This is one of those movies that is much better than you thought it might be. I loved it.

I also think the storyline was very well done. It kept you engrossed. The doctor was very meek in the best sense of the word - not responding to provocation by David in the least.

David's outbursts when touched were moving and very realistic - you believed he felt that way.

Lisa, frumpy dress, messy hair and all, was astonishingly beautiful in my eyes, and acted out her part perfectly.

All in all, I would watch the movie again. It's that good.

Probably director Perry's finest hour, David AND LISA basically cost nothing and went on to gross a fortune despite its downbeat nature. Keir Dullea and Janet Margolin are wonderful in this nicely modulated yet off-kilter love story. The best romance stories are beset by the biggest obstacles and this movie touchingly lays out the challenging premise of blossoming love between two emotionally disturbed individuals with much to overcome. Sometimes cold and distant and not always a happy movie-going experience, David AND LISA is nevertheless a convincing and definitive testament to the thrills and agonies of young love. Those who like this movie might also consider seeking out the similarly touching Aussie movie ANGEL BABY, which also addresses the subject of love from the point of view of emotionally troubled individuals.

Frank Perry's incredibly poignant drama about a psycho-neurotic young man named David, remarkably played by the handsome Keir Dullea, who is send to a private mental institution for emotionally disturbed teens by his parents. David has a great fear of being touched by anyone, he literally thinks he will die if touched, and is extremely resistant to forming friendships. He is also obsessed by clocks and time. While at the facility David meets Lisa, marvelously played by the beautiful Janet Margolin, a young schizophrenic girl who speaks in rhymes and is disassociated from reality. David who is antagonistic to everyone else, treats Lisa with mild compassion and caring and soon an odd romance begins when these two troubled youngsters realized that they can each help each. Brilliant direction by Perry in his directorial debut, which along with his engrossing screenplay earned him Oscar nominations. Gorgeous black & white cinematography by Leonard Hirschfield, and wonderful supporting performances by Howard Da Silva, Nava Patterson, Clifton Jones, Richard McMurray, Karen Gorney and Jaime Sanchez. One of the finest films ever made about mental illness.

"David and Lisa" is a well-made, beautifully photographed film from the early 1960's. It tells the very unusual love story between two people with extreme eccentricities. I am still uncertain, considering the year in question, whether they are supposed to be mentally ill or merely "troubled teens". Keir Dullea (better known, to me, in "2001") was hardly 17, but at 25 or 26 at the time, his performance and the whole material more than compensated for the obvious adult in the role. The independently produced film comes at the beginning of a long string of films dealing with mental issues. This one reminded me mostly of "Splendor in the Grass"--or at least the last half of that film. The cinematography is like one Ansel Adams photo after another. Do yourself a favor and watch this film!

The movie opens with David's mother admitting him to a private facility for emotionally disturbed teens. David has a deathly fear of being touched by others (literally, he thinks he will die if touched) and he is obsessed with time and clocks. At the facility is a young girl Lisa who is schizophrenic, speaks in rhymes, and is quite disassociated from reality. The movie details how these two meet and the changes they effect on each other.

Keir Dullea is perfectly cast as David. His gradual transformation from a near automaton, virtually incapable of interacting with others, to someone a little less rigid is a fine feat of acting. Dullea has played rather stiff personalities in other movies, most notably "The Fox" and "2001," and one wonders if his portrayal of David is but an exaggeration of his own personality. Janet Margolin is equally accomplished in her portrayal of Lisa. Howard Da Silva is very believable as the benevolent psychiatrist Dr. Swinford, but his role is not terribly demanding and we come to know very little about him personally.

The black and white photography is effective and appropriate for the stark subject matter which is concerned exclusively with people and mental states. There are dream sequences that Alfred Hitchcock would have envied. The period details of the late 50s, early 60s (apparel, cars, home décor) are interesting.

When the kids from the home venture into the wider world their behavior is often viewed as bizarre and threatening by others. It is one of the strengths of the movie that in this context, our having been with the kids for awhile and gotten used to them a bit, their behavior is somewhat understandable. Maybe the next time we see someone behaving oddly in public we might reflect on this movie. However, it is a question whether the sympathy we come to have for David and Lisa is in no small part due to the fact that they are so attractive.

A psychiatrist might have a more accurate opinion, but for the lay person the story has many difficulties.

We are led to believe that mere socialization can lead to rapid improvement in treating some of the most intransigent mental disorders such as obsessive compulsive disorder and schizophrenia. While it is true that Dr. Swinford is always lurking in the background, he is not shown here to have any deeper insights or worth beyond that of a good friend (not to underrate the value of a good friend). While we come to understand that at the root of David's obsessions is a fear of death, we have no idea how he wound up in the condition he is in. Lacking any further evidence we are left with the implication that it has something to do with his having an absent and remote father and a domineering mother. But surely that could not be the total cause of an impairment as serious as David's. What was David like before we meet him? It is hard to picture him functioning in the day-to-day world.

We know even less about Lisa's background, nothing really. We are offered the common stereotype that schizophrenia is the same as multiple personality disorder, since Lisa alternates between being Lisa and Muriel. As to the others in the facility we get only a sketchiest idea as to why they are there; they all seem rather harmless.

There is no mention of drugs. Even in the early 60s, drugs would have played a part in treatment. Also absent is any mention of sex which would have to be a major consideration in dealing with late teens, emotionally disturbed or not.

We are left with the idea that things end on an upbeat note, however unrealistic. But, upon further thought, what is the future of David's relationship with Lisa? One cannot be optimistic about a sexual relationship - neither would be capable of caring for a child. And, if David is so afraid of simply being touched, there is going to be a long road ahead to any kind of sexual contact, let alone a satisfying relationship. And introducing sex into the mix of Lisa's problems is not going to simplify anything for her. Dr. Swinford is going to have to be more than a friend to deal with that situation.

David's obsession with clocks and time leads to a moment of great prescience. It is his secret dream to have a master clock that sends out radio signals so that all clocks can be synchronized and everyone can have the exact time. Interestingly this foreshadows the existence of the atomic clock at the National Institute of Standards and Technology and the existence of "atomic watches" several decades later.

While it is admirable that this movie tackles the important topic of mental health in an era when such was not common, it would have been a more valuable exercise if it had gone deeper.

Although I viewed this film over 40 years ago, it still comes back to my mind from time to time. It packs an emotional punch that is rarely seen in cinema today. The young Keir Dullea gives a very convincing performance as a highly intelligent, but mentally disturbed young man. The cinematography is excellent, burning images into the mind that are still there 40 years later. I recommend this film highly to anyone interested in the cinematic art, as well as those who enjoy a strong story. The fact that the film was shot in black and white is a definite plus. It tends to accentuate the starkness of David's world and subliminally takes the viewer into a world of absolutes, where shades of gray have no place.

how could this film only rate a 6.9 on imdb? this film is incredibly poignant and well done, from the fantastic story to the wonderful performances to the gorgeous black and white cinematography. there just aren't that many films out there that are this good. maybe the subject material of teenage mental illness is just too difficult for some or some people today can't relate to the characters who seem very different from today's teenagers. it is a rare thing to experience a movie that evokes such deep feelings from its audience. Frank and Eleanor Perry, this film's director and writer (and husband and wife team) had a penchant for disturbing, emotional conflicts. this film started their careers and was Oscar-nominated for both its direction and its screenplay. in our own way we are like these lost children, finding our way to the best start we can make in life.

Keir Dullea plays David, a new resident at a psychiatric treatment center, who becomes agitated when he is touched; Janet Margolin is Lisa, a schizophrenic who alternately speaks in rhymes or not at all. Director Frank Perry's drama about mental illness and the loving friendship that develops between these two disturbed young people was a surprise hit in 1962; independently-produced and distributed, the profits allowed Perry and his screenwriter wife, Eleanor Perry, to continue making acclaimed films together until the start of the new decade. It's not a very courageous film, it isn't hard-hitting and it doesn't break new ground, but as a dramatic acting showcase it delivers. Dullea is wonderful; he and Perry do not let the hysterics inherent in the role of David to dominate Dullea's performance (he carries the movie). As David's psychiatrist, Howard Da Silva is also strong, turning what might otherwise be a thankless role--the proverbial doctor-friend--into something much more: he's wise and caring, but isn't showy about it. The film is an entertainment the way TV dramas on "Playhouse 90" were entertainments. It shows us sick behavior and makes its points about society's attitude to that behavior, but there's no current of life underneath the film. "David and Lisa" isn't grossly melodramatic, which is a plus, yet Perry is too controlled within this environment. The picture is in black-and-white, and yet you can sense a rosy hue around it. **1/2 from ****

This beautiful movie has more humanity and intensity than any violent or sexual-filled film that Hollywood puts out today. The magic and conviction of this film will look in your eyes and reach deep into your heart. The acting is superb.You feel like a voyeur uninvited watching a drama unfold.The actress has a sweet demeanor which is very rare in actresses today.The actor just pulls on your heartstrings with his ability to convey to the viewer that he cant touch,yet wants to ...desparat.ely. The simple scene in which the lead actor shares a slice of chocolate cake with the psychiatrist,shows an enormous amount of two humans interacting on a level of the patient and the doctor,yet each learning and teaching from another.The vulnerability and rawness of the film reaches so many different levels and scenes throughout the movie.This film has much more raw emotion than Nicholson's film"One flew over the Cuckoo's Nest".And that is because the story gets right to the point.It is beautifully done simple,and not trying to hard.

Dr.Petersen

In a year where pretty much every movie had to be gargantuan to even be considered for serious Oscar consideration ("To Kill a Mockingbird," you're excused), "David and Lisa" snuck up behind to grab nominations for husband and wife team Frank Perry and Eleanor Perry, for Best Director and Best Adapted Screenplay, respectively.

"David and Lisa" feels like a bridge between movie eras. Mental illness had been explored plenty of times before, but always in a Big Hollywood Studio kind of way. This film feels more raw and exposed in its treatment of the subject matter, a harbinger of the REALLY raw stuff people like John Cassavetes would start putting on the screen in a handful of years. Unlike Cassavetes movies, this movie feels obligated to make us feel good about our protagonists' futures by the end of the film, but it can be forgiven that I think. Its starkness was probably strong enough stuff for audiences at the time without a more realistic resolution.

Keir Dullea (of "2001" fame) and Janet Margolin do fine work as the youngsters who help each other break out of their muddled heads.

Grade: A-

This was an outstanding film dealing with two young people who had mental problems that were deep seeded into their minds and how they both struggled; to help each other find the light at the end of the tunnel. Keir Dullea,(David Clemens) "De Sade",'69, played the role of a

young man coming from a rich family, who had a big hang up about anyone touching him in any way, even with a pinkie finger. If you did touch him, he went crazy and carried on like a brat of a child. Janet Margolin,(Lisa Brandt),"Annie Hall",'77, was another mentally disturbed young girl, pretty and seemed to glow when she looked at David. Howard Da Silva,(Dr. Swinford),"The Great Gatsby",'74 was the shrink in charge of the mental facility and had a full time job just trying to get David & Lisa to open up their twisted and disturbed minds. Great acting and a very enjoyable film, which at times is depressing and very down to earth.

Though this is self-consciously artistic, quote unquote, it is plausible in many ways. The acting is good. The two young title characters are very good indeed.

A sensitive approach to mental illness in the early 1960s was brave. The vignettes separated by blackouts are initially annoying but one gets used to the technique ad they start to have a genuinely artistic appeal.

The scenes in which David is home are poignant but a bit clichéd. And the ending is unfortunate. Love conquers mental illness. David rescues Lisa and she stops rhyming and he doesn't mind her touching him. OK. The comparison may be unfair but think of the ending of Truffaut's "Wild Child," which raises the question of whether any of what we have seen is moral or not. Maybe that would not have sold at all in the Hollywood of this time and we should be grateful this was made and released at all.

(The Lisa/Muriel aspect, which must be left over from the novel, is not explained clearly in the movie. Which is her real name?)

Fruedian psychology must have been real real popular in the early sixties. Between Psycho, The Manchurian Candidate, Dr Straelove, and this dime store matriarchal film making seem to hit a cheesy crescendo. Why? This seems to be an interesting enough premise for a movie, but (at least in today's standards) seems meek and unwilling to commit itself to anything more than skipping along the surface of it's quirky characters. Plenty of interesting elements lurk right beneath the surface, but in this heavy handed melodramatic bird's stool, it falls flat.

The movie does serve as an oddity (or perfect example) of lazy film making, perhaps because of budget. Every scene is repetitive. The movie follows so closely to the idea of one set set-up, establishment, and fade out, that it seems less and less like a movie and more and more like a series of scenes. To a modern audience it should seem striking. Quick cuts, and lead in being today's norms.

5 out of 10, not bad, but Jimmy Stewart in Harvey is less of a waste of time.........

David Clemens checks into a sanitorium. He freaks out whenever somebody touches him. He is anti-social until he becomes taken with fellow patient Lisa Brandt. When she speaks, she can only do it in rhymes. He starts communicating with her in rhymes.

The rhyming aspect is a little manufactured but I do like that it forces David to work to communicate with Lisa. There is a sacrifice and a quest to their courtship. I'm willing to allow for some artistic license. It's poetic and it also allows for an easy resolution. These two troubled soul are very sweet. They are a couple of wallflowers who find each other in the corner of a crowded room. This is a slow sweet little romance.

This is my favorite movie from the 1960's and there were a number of outstanding black and white films made during this period such as "The Balcony", "Children's Hour", "The Mark", and "The Pawnbroker". David and Lisa was a low budget film with outstanding acting. It's worth seeing.

This is in my top list of films and it should still be better known, but sadly the general public do not respond much to serious films dealing with mental disturbances. Frank Perry's direction is stark and beautiful to watch, and has a recurring dream sequence that is both terrifying and enlightening, and the film should be seen for that alone as well as the superb performances of Keir Dullea and Janet Margolin. It is a love story that works on every level and as well as being an indictment of so-called normality and how people are pigeon holed for society's expectancies. David cannot be touched, and Lisa can only be touched by certain verbal ways of speaking. David fears death and Lisa fears life, and in this scenario the ending on a positive note is entirely justified. For me Keir Dullea was and still is a great actor, but he should not be remembered for Kubrick's work alone. This in my opinion is his best work on screen, and I watch the film fairly often to remind myself that people are diverse in their needs, and are often denied their needs by a conventional world that wants to make us all the same.

This is an American film influenced by the European New Wave. It takes the form of a psychological drama centred on a school for mentally ill youngsters, in particular a boy named David who is terrified of being touched and a girl Lisa who has a split personality and speaks in rhyme. It's a quality production all round with a couple of great central turns from Keir (2001 a Space Odyssey) Dullea and the beautiful Janet Margolin in the two central roles. The material is handled very well and you are definitely on board and behind the main characters. It was nominated for some Oscars and won a Bafta - not that this often means much but in this case it was quite deserved in my opinion.

Frank Perry's 1962 film David and Lisa is based on the book Lisa and David by Dr. Theodore Isaac Rubin about two disturbed teenagers in a residential treatment center whose growing affection for each other begins to break down the limitations of their illness. The film was one of the first to deal openly with the emotional problems of teenagers and we can forgive it if it now seems dated and a trifle clunky. At the time, however, it was a breakthrough for independent filmmaking, grossing five times the amount of its budget during its first week of release. The dialogue was unusually honest for its day and the black and white dream sequences far ahead of its time. In spite of some over-the-top acting and stilted dialogue, the film works because the two leads are so appealing and because we want to believe that they can help each other.

Seventeen-year old David Clemens (Keir Dullea) is highly intelligent but suffers from an obsessive-compulsive disorder that makes him terrified of any human contact. Lisa Brandt (Janet Margolin) is a schizophrenic who speaks only in singsong rhymes to avoid losing her identity to Muriel, her other self. David's violent aversion to being touched lands him in institution run by Dr. Swinford played very effectively by previously blacklisted actor Howard Da Silva. When David first arrives, he is angry, fearful, and wound into a tight knot. He starts to breakthrough when he begins interacting with Lisa, though he is forced to speak to her only in rhymes. Through their friendship, David gains a measure of self-esteem denied to him by his family, amply demonstrated when he is taken home from the institution and is witness to nothing but parental bickering. When David is able to also establish a friendship with other inmates, Lisa becomes jealous and runs away until they meet again in an extremely moving conclusion.

While the material has been adapted from actual case studies, it is not clear where reality ends and drama begins. There is very little structure at the school, no group counseling, no hint of medication, and no insight into what is actually troubling the other inmates, yet this does not stop David and Lisa from being an engrossing story in which we care about what the characters. Janet Margolin's innocent smile is enough to light up the darkest room and Dullea plays David with an involving sensitivity. While there may be some smirks along the way, when the film is over, grudging admiration gives way to strong appreciation.

"The Miarcle Worker", "To Kill a Mockingbird" and "David and Lisa", arrived in theaters in the same season and all black and white, all intense, human stories...that influenced me to dedicate my life to becoming a "wounded Healer". This little film, hit me hard, by first confronting my own demons, my family of origin, the dry 1950's in the Mid West Kansas prairie. Not like the "Snake Pit", this exploration of mental illness, was warmer, more understandable and approachable with the human heart. Meinger's Clinic was nearby in Topeka, Kansas, and they were doing the best clinical work in the world to date.

The movie theater was our only source of connection with the outside world emotionally. Yes, radio and later TV, just one channel CBS, brought to our living rooms, words, pictures and ideas, some painful some joyous.

A small Kansas wheat farming community can be a "closed information system", that is thrown into conflict, by new ideas about humanity, God, the larger World out there.

We were "shaped" emotionally more by film than TV or Radio. Cinema Scope presented a window on the world, in sound and images 60x our physical being and we were enmeshed on many psychological levels by film. That is the power of film, especially in a theater with other people.

James Dean, Elizabeth Taylor, Rock Hudson, in "Giant", Kim Novak and William Holden, in "Picnic", made down the road from our town, were only the tip of the iceberg. "Best Years of Our Lives" and "Since You Went Away", were more than just images on the silver screen in a dark movie theater....that was 'US' up there, that was our story, our lives. We were "known, validated perhaps" by these images.

We were "defined" by fashion, haircuts, musicals, songs, dance, social conflict and reminded us of our humanity, the HUMAN COMEDY, that we lived in our local patterns, in our own words and behaviors.

I later became a "theater major" at the University of Colorado. Theater helped me understand human behavior, human motivation and the human masks of tragedy and comedy. Sports were important for character and physical glory and the Olympics, But Theater showed "why" the hero, the villain, the plots enriched our daily emotions.

Psychology was a dimension of theater. "David and Lisa", I was like them "both" in my way and was led to explore my own shadow and my teenage demons. Like "Rebel Without a Cause" we found these films to be therapeutic and healing on many levels. Walt Disney had lied to us and westerns no longer held my interests. As a teenager my hormones were creating a new me, a new sense of personality and the purpose of being alive. I had to "know" who I am and who I am not...for some reason. "Why are we here on the dirt prairie?" No, not "Oklahoma" again? ha

I never take a client that is "sicker" than I am. ha And felt I should drop out my first year in graduate school, because I saw myself on every page. "I feel I am too sick to be a therapist", I told my professors. They smiled.

"We are more concerned about students, who never see themselves on any of the pages in the DSM", they added.

I have not regretted becoming a therapist and "David and Lisa" helped build the bridge to that island, called the "Unconscious".

The cast is perfect. The performances are influenced by the 1950s and like ...'Without a Cause', parents were that emotionally dead to us even then.

I am pleased this film has survived and is on DVD. Music is lovely and fits the action, Kier should have been nominated for an Oscar as well as the actor who played "Lisa" can't remember her name. I actually become a close version of the psychiatrist in my way. VSS

At a time when films were becoming bigger and more expensive to fill theater seats in competition with the small screen, David And Lisa quietly premiered in the fall of 1963. A small black and white film with a dental floss budget it's about two young people in a mental health facility that only the rich can afford.

As such it's not a film that is truly representative of the mentally ill. Something like One Flew Over The Cuckoo's Nest is far better in that regard showing how people of all types and all types of neuroses are warehoused like cattle. This is a facility that only people of means can afford.

Keir Dullea and Janet Margolin who got their first big breaks in the title roles as a pair of kids at a combination of boarding school and mental health facility. Dullea is a boy with an all consuming passion for neatness and order who goes ballistic at being touched. Margolin is a loopy girl clearly schizophrenic who constantly speaks in rhymes. I think in her mind that's bringing a kind of closed order to her world.

We never see Margolin's family, but Dullea's is an eyeful. His father is distant and ineffectual. But mom Neva Patterson is the ice queen of suburban Republican women. David's here clearly because he's an embarrassment in her world.

The therapists are strangely passive. Clifton James and Howard DaSilva seem to be good listeners, but really don't offer much. James who played southern redneck types usually is almost unrecognizable. As for DaSilva he was coming off the blacklist and no doubt grateful for any work.

The film got two Oscar nominations for director Frank Perry and for Best Adapted Screenplay. But it belongs strictly to the leads Keir Dullea and Janet Margolin as David And Lisa.

KEIR DULLEA and JANET MARGOLIN are a couple of youngsters needing guidance because of their mental illness and finding inspiration in each other to help them confront the issues bothering them. HOWARD da SILVA gets away from his usual villainous role to play a sympathetic psychiatrist at the asylum.

An independent film, it's a sensitive treatment of the subject matter without resorting to clichés or attaching a happy ending that would suggest a complete cure. Frank Perry's direction gives the film an almost semi-documentary look.

The story is almost too simple to sustain its feature length and there are moments that drag interminably while we watch Margolin display all her odd mannerisms. Dullea remains rigidly trapped inside his own personality and almost looks like a robot at times. Howard da Silva is the picture of laid-back patience as a psychiatrist who has to contend with Dullea's obstinate behavior and unwillingness to be touched by anyone.

The tender final scene outside a museum is a nice way to end the story, showing that both Margolin and Dullea are about to take steps that may lead to some sort of recovery.