KINDAH'S REVIEW

Film Title: A Dangerous Method

Director: David Cronenberg

Distributor: eOne

Principle Cast: Viggo Mortensen, Michael Fassbender, Keira Knightley, Sarah Gadon, Vincent Cassel

Running Time: 93mins

Release Date:  January 13, 2012

Reviewed By: Kindah Mardam Bey

It may be that after years of watching Cronenberg films my sensibilities have been redefined, but A Dangerous Method is almost conventional for this director, even though scenes of Carl Jung doling out a little S&M to his patient Sabina Spielrein is much the premise of this film.

Spielrein (Keira Knightley) was a catalyst for change within the realm of psychoanalysis. Her interpretations and work with Jung (Michael Fassbender) and Sigmund Freud (Viggo Mortensen) made them the “Fathers of Psychoanalysis”. As they say, behind every great man is a great woman and in this case, it bares a lot of truth.

Of course, Jung and Freud did etch out their own sophisticated theories that became the foundation from which we still treat our dreams and even our sub-conscious dialogue that spills out occasionally, and we humbly back peddle with the phrase “Freudian slip.” So the thought of shining the limelight on this influential woman in history seems almost too tantalizing to have not done so sooner, and it makes one wonder what Jane Campion was so busy doing that she missed the chance to tell this story.

Trevor has already expressed this was a stage play, based on a book, now transformed into an epic and visual masterpiece by Cronenberg. Admittedly, the unique interpretation of Spielrein in A Dangerous Method, and her relationship with Carl Jung, is less of a biographical work and more an analysis, if you will, of Spielrein’s involvement with Jung and Freud for a short period in history. A great deal is made of Jung’s marriage to Emma Jung (Sarah Gadon) and how his infidelity with Spielrein (one of his many affairs in reality) affected his conscience and his marriage.

This is a stunningly beautiful, and epic film; meticulous in detail and refinement. Shots are so strikingly compiled it almost seemed an exciting endeavour to step into Freud’s office. As rich in texture as the indoors were, the outdoors equaled in measure for vibrancy. I was so tempted to get out of my theatre seat and step into that Merchant Ivory essence of the film that Trevor mentions. It was the Edwardian era (with splendid corseted costumes in tow) but heightened into vivid Technicolor. The excitement about this look is not only the visual perspective but also that this is a step outside of Cronenberg’s typically gritty and dark style. His shots, images, and creation of scenes, show not only a master at his craft but a student still absorbing and acquiring new skills. A Dangerous Method appeared to be a marked growth in an exciting new direction from a talented craftsman.

Performances by Mortensen - a regular of three previous Cronenberg films - as Sigmund Freud and that new guy who has every critic’s head spinning, Michael Fassbender as Carl Jung, were a fiery sight to behold. Mortensen simply became Freud in so many detailed ways it was a remarkable transformation to watch. Fassbender seemed restrained in his performance, but we are so mightily inspired by his aptitude as an actor he reminding us of the enigmatic Gary Oldman, constantly submerging so much of himself into his performances that you wouldn’t have a clue what he is like in reality – which is ideally what an audience wants from an actor. The scenes between Freud and Jung were a delicious trifecta of power struggle, student/mentor rapport and a complete surrender to each other’s abilities and techniques, that I couldn’t have imagined a more aptly suited pairing if I tried.

Perhaps just as powerful as Fassbender and Mortensen’s performances were the secondary roles of Otto Gross played by Vincent Cassel and newcomer Sarah Gadon as Emma Jung. Cassel has so few scenes but he does so much with them, as per usual. But it was Gadon as the stoic Emma Jung that seemed so utterly captivating and intelligent in her performance. Not only did Gadon hold her own against an intimidating cast and filmmaker, but she brought a truly well thought-out and depicted performance of Emma being a much-needed breath of fresh air every time she was onscreen. Although Gadon has done much in television and only few films previously, I will make a bet that she will become an enormously popular and well-respected actress in the not-to-distant future.

I know this may be a little confusing as to why A Dangerous Method garners three stars and I have done nothing but rave about its merits, but two integral aspects of this film significantly diminished all that hard won effort by its previously stated virtues. The performance by Keira Knightley was, mildly put, damaging. Her accent constantly waned between British, American and a caricature of a Russian accent. Aside from the accent, her performance swung between the diverse range of willowy and circus. What I think was most upsetting about this is that I don’t think I have ever seen Knightley try as hard as she did with this film then any other performance she has done previously. She worked hard and her hard work produced little fruit. David Cronenberg has the most fantastic taste in leading ladies (Maria Bello, Deborah Kara Unger, Geena Davis) that it seemed surreal to have such a poignant character, and leading lady, so poorly cast. Clearly Knightley wanted the job, she just wasn’t up to it.  

The second aspect was the script, which was written by the respected screenwriter and playwright Christopher Hampton, who revisited his own play The Talking Cure, and translates it to screen. Now, I am not adverse to a content dense film; in fact, if you haven’t seen Kevin Spacey and Danny DeVito verbally duke it out in The Big Kahuna then you are missing out on one of life’s little pleasures. But what was so flawed about the script for A Dangerous Method was that simply nothing happened. The first 15 minutes of the film established the story and then after that it was a repetitive holding pattern where you kept waiting for something substantial to emerge and it never does. A film can be slow paced and yet have much to say, but A Dangerous Method seemed to have so much to say and didn’t really speak at all. I was genuinely surprised when the credits started rolling. Were we done? Did we get started?

In the end, I will buy this film when it goes to DVD. In fact, I will even recommend you go and see it in the theatres, and I will tell you why: It is a visual masterpiece, all the performances, bar Knightley, are indescribably good, and this is one of Cronenberg’s finest works. If you can suspend disbelief that superheroes exist for the barrage of action films that tumble down the studio ladder, I believe you can use that same mental switch to ignore one bad performance and a slowly spun tale. I am sure there is a theory in psychoanalysis somewhere that confirms my hypothesis…

TREVOR'S REVIEW

Film Title: A Dangerous Method

Director: David Cronenberg

Distributor: eOne

Principle Cast: Viggo Mortensen, Michael Fassbender, Keira Knightley, Sarah Gadon, Vincent Cassel

Running Time: 93mins

Release Date:  January 13, 2012

Reviewed By: Trevor Alberts

I’m one of David Cronenberg’s biggest fans. His expert talent for delicately handling audacious and startling subject matter is unmatched, and each of his films is a feast for the eyes. Every time you walk out of a Cronenberg movie, there’s one scene, or even a single shot, that you’re sure will never leave the darkest corners of your mind.

Unfortunately for me, I didn’t get that experience from his latest movie, A Dangerous Method. I felt as though that shady part of my brain was totally untouched, though I’m sure Sigmund Freud would have had a good explanation for why I so badly wanted a movie to break down my psychological state.

Don’t get me wrong – I’m not saying Cronenberg shouldn’t be departing from what I consider his “usual” filmmaking style and content. In fact, A History of Violence and Eastern Promises were both very different from his previous movies, but they were just as entertaining, and thought provoking as anything else he’s made. But A Dangerous Method isn’t in the same league.

A Dangerous Method is based on a stage play, which is based on a novel, about how the relationship between legendary psychiatrist Sigmund Freud and his protégé Carl Jung becomes strained, after a particularly disturbed patient seduces Jung. That’s pretty much it. You’re not missing out on a key plot point here…it’s just not an exciting story. And most of the exposition in the movie exists as terse dialogue between the characters, who keep their emotions bottled up, so as to completely remove any semblance of drama from the proceedings.

The movie is even staged blandly. At first, it seemed like the camera work and blocking were intentionally restrained-visually representing how the characters were repressing their feelings and urges. I was certain there would come a point when the characters would break free from their psychological chains, thus inspiring a faster pace and more surprising shots. And although long-time Cronenberg collaborator Peter Suschitzky gives us some stunning lighting and scenic shots of Vienna, the overall style stays intentionally muted throughout the entire film.

An upside to the film is a set of captivating performances by the lead actors, Viggo Mortensen (as Freud) and Michael Fassbender (as Jung).  They manage to transcend the material, but I have yet to meet someone who enjoyed Keira Knightley’s performance in the film. Her Russian accent completely removes all plausibility, because she sounds like a Bond Villainess.

In summary, If you prefer action and high-stakes drama, I recommend you watch a different movie. But if you’re in the mood for a period film featuring lovely scenery and countless scenes where two people sit in a room talking to each other about convoluted psychological theories, or offering analyses of their feelings about dreams, then this is right up your alley. And I’m certain that Sigmund Freud would be interested to know what’s up your alley.

EPISODE 5 of the CANADIAN FILM REVIEW will be the last week of January for the NFB documentary PINK RIBBONS INC.

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Written by :

Kindah