Grace begins recounting the day Nancy was killed, as Dr. Jordan hopes to finally uncover some truth.
Grace recounts more of her relationship with Nancy to Dr. Jordan.
Dr. Jordan discovers more about Grace and her time under the employ of Scottish master Mr. Kinnear.
In 1859, Grace Marks receives a visit at the Kingston Penitentiary from Dr. Simon Jordan, a doctor of the mind. He's there to listen.
A Dangerous Method. 2011. Directed by David Cronenberg. Screenplay by Christopher Hampton, based on his play The Talking Cure.
Starring Keira Knightley, Viggo Mortensen, Michael Fassbender, Sarah Gadon, & Vincent Cassel. Telefilm Canada/Ontario Media Development Corporation/Corus Entertainment/eOne Films.
Rated 14A. 99 minutes.
I’ll say it loud and proud ’till the day I die: I am one of David Cronenberg’s biggest fans.
His films are incredible slices of human life twisted around the innovations of everything from technology to media to psychology, as well as all sorts of other themes and topics. While his earlier work is dominated mostly by the physiological, over the past decade or so Cronenberg has kept his eeriness as he’s moved towards examining aspects of the mind. Cronenberg first moved slightly from body horror in 2002 with the Ralph Fiennes-starring Spider, which examined the fractured mind of the titular character through years of psychological torment. Then came A History of Violence and Eastern Promises, both taking a look at the fluid identities of dangerous men involved in the world of organized crime.
But if the second act of Cronenberg’s career has shifted focus more towards psychology then the granddaddy of them all is A Dangerous Method.
Via screenplay written by Christopher Hampton – based on his own play The Talking Cure, which is also based on the book A Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein – the audience is transported into the relationship between groundbreaking psychiatrists Drs. Sigmund Freud and Carl Jung, along with the presence of Sabina Spielrein, who went on to become one of the world’s first female psychoanalysts. The style Cronenberg brings here is his typically great eye for framing and an overall gift of storytelling. But more than that he takes his talents in the arena of body horror and manages to make the psychologically uneasy aspects of this story all the more affecting.
A few reviews I remember seeing when this was first released accused Knightley’s performance of being hammy, over-the-top, among other suggested negatives. There’s no way I can agree. In the initial scenes you can grasp the incredible emotional trauma of Sabina, as Knightley dives directly into this woman’s skin. It is a fearless performance from the top. Sabina was a hysteric, and that is how many of them are prone to behaving. Although her accent doesn’t always hit the perfect mark, her overall performance is solid. Her energy as an actress has always been good. Never more formidable than here.
The chemistry between Knightley and Fassbender is fiery, too. For his part, he brings Jung to the screen with an odd charm, one which slowly evaporates over the course of the film. At first he seems a proper man whose interests lie solely in psychiatry, unearthing new practices and honing old ones to modern methodologies and more modern issues/illnesses. Partway through there’s a gradual realization Jung is as repressed, if not more so in some ways, than some of the patients he treats. Through Fassbender we find Jung’s human side and also his hideous one. He seeps talent in every film in which he stars, this is no exception.
Finally, it’s the even more amazing chemistry between Fassbender and Mortensen that makes this film so engaging. Mortensen has a good look for Freud, as well as the fact he captures the air of the men well, right down to little details such as the constant cigar smoking, the pensive and animated conversation, his calm demeanour and way of speaking. He and Fassbender play well off one another – the former with a highly serious tone and set of mannerisms, the other a slightly more loose and freewheeling type. Together, as the tension rises from one conversation to the next, their performances reel us into a psychoanalytic world of ego, jealousy, competition. And their subtle touches as actors, along with the well written screenplay, gives them the ability to work without melodrama. These two together offer nothing but the best.
Jung: “Only the wounded physician can hope to heal”
Part of Jung’s resentment of Freud is that the latter seems to have no problem with sex. Maybe he’s not a ladies man either, yet he willingly dives headlong into sexuality as the root of just about every problem we as humans experience. Meanwhile, it is clear Jung had hangups, which emerged vividly in his relationship with Sabina. So Jung likely thought Freud’s preoccupation and fixation on sex was ill conceived simply because of his own desire to break free sexually, a.k.a cheat on his wife.
One major reason I love A Dangerous Method is because it takes a long, hard, raw look at people who are widely regarded as geniuses in the field of psychiatry. Of course anyone in the know realized Freud was into cocaine, as well as other bits and pieces of both his and Jung’s life. However, exposing the darkness underneath all the masterful work is something intriguing. In that way, Cronenberg further digs into the mind: the collective mind. As we try to believe doctors and other figures of such authority are often better than ourselves, we often forget they are simply human.
The conversations between Freud and Jung are wonderful, in acting and writing. Tension mounts as their opposing views bump up against one another, rubbing each other raw. Every conversation seems to get a little more anxious, each one has more attitude – often from Freud – and the relationship between these two great thinkers deteriorates, almost invisible to their own eyes as it’s happening. Then all of a sudden they’ve grown miles apart during the interim. The progression and downfall of their relationship is certainly precipitated by the affair Jung engages in with Sabina. But the inflated egos of both Freud and Jung lay the foundation for a breeding ground of contempt between them, an inescapable and unavoidable rift.
There are absolutely some flaws to this movie. The fact remains A Dangerous Method is a complex and interesting piece of cinema facilitated by the prodding mind of David Cronenberg. Without a focus on body horror, he puts a tight lens on the horrors of psychology. The dangerous method in question lays waste to the mental capacities and thought processes of Carl Jung, as it also taints Sigmund Freud and Sabina Spielrein. The famous Talking Cure is of course a great thing, one that’s given birth to what we know today as therapy, couples counselling, and so much more.
At the same time, the Talking Cure can lead to dangerous things if not taken by the reins. Someone like Jung, particularly in his affair and resulting mess involving Sabina, talked too much, and perhaps needed his own therapy while falling under the influence of first Freud, then Sabina in her own way, even Otto Gross and his ruminations on the uselessness of monogamy
This true story about the burgeoning days of modern psychiatry and psychoanalysis is a 4-star film with a trio of fabulous performances, the ultimate driving force behind its impact. Great directing, great acting, and a solid screenplay. If you have an interest in the topics at hand, check this out, but either way it is still a nice, interesting work of historical drama that gives us insight into the towering figures of Freud and Jung now that the past few decades have pulled further back the curtain on their personalities and personal lives.
Episode 8: “The Day in Question”
Directed by James Strong
Written by Bridget Carpenter
* For a review of the previous episode, “Soldier Boy” – click here
The titular day in question has arrived. The day of the assassination.
Jake (James Franco), along with Sadie (Sarah Gadon), is racing to get himself in place. JFK is due to be in Dallas for the fateful ride. Out of nowhere, Jake runs into Frank Dunning (Josh Duhamel), or does he? Just a mirage. Even Sadie runs into the specter of her former husband (T.R. Knight). The past is trying to prevent them in any way, shape or form from doing anything to change it.
Through crowded streets they try to make their way to the Book Depository. They come upon the Grassy Knoll, they see people waiting around for the President of the United States to drive by. All unknowing. Sort of eerie to see them in the midst of everything, knowing what’s to come. Another King reference – Randall Flagg struts through the streets, or someone likely to be him, anyways.
But Jake ends up pulling a gun on a man who’s supposed to know things, yet doesn’t, and Jake fears the past is pushing back harder now so close to the event.
Lee Harvey Oswald (Daniel Webber) is sitting, quiet, alone. Meanwhile, Jake manages to get himself inside the building. Only time is passing, fast. A nice Stephen King homage: REDRUM is on the wall as Sadie and Jake run up the stairs.
As the motorcade pulls around, Oswald sits breathing slowly. He is readying himself. The people on the street cheer, raising their hands, waving to John F. Kennedy. Lee steadies the rifle on the President’s car. Intercut with shots to look like the original footage. An amazing, tense sequence. Jake busts in and distracts Lee, enough so that the President and his Secret Service escape unharmed.
Now, though, Jake and Sadie are trapped in there with Oswald, who stalks them still with rifle in hand. “I‘m gonna make my mark on this world,” he raves at Jake. Hand to hand, they fight. That is until Jake’s forced to shoot him in the chest. So, one way or another, the past was going to kill Lee. Whether it was Jake or Jack Ruby, didn’t matter. Worse yet Sadie took a bullet. She is one tough customer. But maybe not tough enough to survive this one.
This puts Jake in custody. Not a perfect situation for a time traveler. He’s now finding himself pinned with being the one to have taken the shots. He’s going down or all of it. What a nasty turn of events for the past to take.
So now we’re seeing the mysterious FBI Agent James B. Hosty (Gil Bellows) again. He is taking part in the interrogation of Jake Epping, as well as Captain Will Fritz (Wilbur Fitzgerald). So Jake lays out the story about Lee, talking about his supposed intentions to kill the President. For the moment it seems as if Jake is up against the wall here.
Then once Hosty is alone with Jake, things appear differently. Outwardly, to anyone in the know like Hosty, it looks like Jake is a spy – two houses, no apparent identity “prior to 1960“, and lots more. Using the present knowledge of past events to his advantage, time traveler Jake keeps an edge on Hosty.
And from nowhere, JFK calls to speak with Jake. He thanks Jake, saying they owe him “their lives” – even Jackie gets on the line to say her peice. An emotional, very real moment for a mini-series involving time travel. But there’s always been a human element to its drama.
Hosty: “Far be it for me to pull the thread on the story of a hero, if I did the whole thing would unravel. God knows this country wants a hero. An American hero, who saved the President‘s life and values his privacy. That‘s how our story‘s gonna go.”
With some cash in his pocket Jake moves on. He buys a ticket elsewhere.
Then in the station he sees a woman reading From Here to Eternity. It’s Sadie, sitting quietly by herself. Except it’s not. Only another mirage, sadly.
Jake gets himself to Lisbon, Maine. But things are troubling him. So he heads through the time portal. He finds the diner leveled. In fact, everything nearby is rubble. Far as the eye can see. Has changing the past really destroyed so much?
Another Stephen King Easter Egg – CAPTAIN TRIPS is spray painted on a wall in the background, as Jake first discovers the new present in a state of apocalypse. Is this the world where the disease of the same name has riddled the world with sickness, death, and madness? Hmm.
Jake encounters someone briefly in the street, though, it’s an awkward encounter to say the least. Obviously something’s happened, and if he were around he’d know. But the place is an absolute mess. Everything is rundown and deserted, abandoned, falling apart. People wander the road. Jake ends up finding Harry Dunning (Leon Rippy), saving him from some marauders. He remembers Jake being the one to have killed his father, saving their family. Time has been changed and thrown for a loop because Jake went ahead and changed the trajectory. He asks Harry about a ton of events, even 9/11 – none of it happened. Turns out that in 1975 there were Kennedy Refugee Camps where “bad things” happened. Nothing got any better. “You don‘t understand this world,” Harry tells Jake.
So with all the disappointment of time travel, Jake sets off headed for the portal once more. All is reset, even down to the clumsy mailman. But he sees Sadie riding in a car, running off towards her. What’s his plan now? Will he live in the world again from the 1960s onward and not change anything?
He starts off trying to introduce himself to Sadie, but then in the door appears the Yellow Card Man (Kevin J. O’Connor). He tries to warn Jake about the perils, as he already did, of getting stuck in a “loop” and how it always “ends the same“, never stopping.
In the end, Jake decides to let Sadie go. He chooses the harder thing instead of the easy thing he wants to do. So tough, but perhaps better in the end. At least for her.
Back in the diner, present day, Jake finds 2016 restored to its proper state.
He goes back to teaching, to his normal life. But of course it’ll never be the same again. Not after all he’s experienced. When Harry shows up again to say he didn’t his promotion, Jake weeps in his arms, saying sorry for not helping. This scene broke me. Such a sad thing to see the burden of all these moments come down on Jake.
At home, he searches Sadie on the internet. She’s receiving a Texas Woman of the Year award. Now older and on in years, Miz Sadie looks marvelous, and Jake watches on as the woman he fell in love with is a completely other person than in his past. Another emotional scene to see Jake having to watch the life he didn’t get to live. Older Sadie even talks of Deke Simmons, too. I loved this scene so much. Really powerful, beautiful few moments that resonate deeply. Classic King-type stuff.
When Jake asks the older Sadie to dance, he chats lovingly with her and flashes back to his dances with the younger Sadie, all at the same time. Through time, something connects between them.
Sadie: “Who are you?”
Jake: “Someone you knew in another life”
I loved the finish to this mini-series. Yes, it’s sort of like the journey to try and save JFK was all for nothing. It was. Although, Jake learned a valuable lesson, and that is the fact the past may not need to be changed. What happens happens. No need to change it because we’ll never know the effects of those decisions.
A solid King adaptation I enjoyed. Most of the episodes were incredible. Lots of thrills, few chills, and a ton of great acting.
Episode 6: “Happy Birthday, Lee Harvey Oswald”
Directed by John David Coles
Written by Bridget Carpenter
* For a review of the previous episode, “The Truth” – click here
* For a review of the next episode, “Soldier Boy” – click here
Back in time again for another episode with Jake Epping (James Franco) traipsing around the early 1960s with his sidekick Bill Turcotte (George MacKay), falling in love with Sadie Dunhill (Sarah Gadon).
After the events of “The Truth”, we move forward six months to October of 1963. Lee Harvey Oswald (Daniel Webber) is applying for a job at the Texas School Book Depository, trying his best to charm the boss. And damned if he doesn’t get hired. Outside, a man talks to him, Oswald suspects he’s FBI (Stephen King adaptation-alum Gil Bellows) and starts getting a little squirrely. Even further, it seems Marina (Lucy Fry) and Lee are separated. He goes to see her, trying to impress her in order to get her back at home. But nothing is working. Her friend Ruth (Miranda Calderon) tells Lee, “give her time“, only there may not be a ton of time left for Oswald, not if he’s planning on doing what Jake and Bill think he’s about to do.
The time traveling self-appointed detective Jake doesn’t stick around with Bill a whole lot anymore. He’s busy looking after Sadie. Meanwhile, Bill is getting stir crazy. At the same time, though, George de Mohrenschildt (Jonny Coyne) is back to see Lee, piquing the interest of the pair and their recording equipment. But they don’t get much before George leaves. Seems maybe there’s a bit of confusion about. “If we don‘t alter his life, we‘re fine,” says Jake – not knowing about Bill and his interactions with both Marina and Lee himself. Bill lashes out at his friend, but it’s likely he may have altered history slightly enough to fuck it all up. Is that possible? For now, Jake figures if they don’t soon sort it all out, they’ll have to abduct Oswald when President John F. Kennedy is in Dallas during November. Most important, Bill and Jake are at odds quite a bit lately.
At home, Sadie is resting with the company of Deke Simmons (Nick Searcy) who implores Jake to “make an honest woman” of her. Jake’s letting more and more of the future slip to Sadie, as well as his plans to help her with the surgery necessary to heal her face. With her in on his time traveling, the upcoming shooting of JFK, this gives the plot a nice new twist, which takes it forward a bit. I also love that we’ve jumped six months because it skips the whole initial shock of Sadie getting used to the fact her new man is from the future. It allows the storytelling to go on without too many bumps.
In other news, Mimi (Tonya Pinkins) found out she’s got a tumour the “size of a lemon” and that there may not be much hope. Yet she keeps her chin up. For his part, Jake is upset: “I wish you‘d call me Jake. I wish you‘d told me sooner.” Mimi doesn’t weep, instead she instructs him on what to do after she’s gone; a couple favours. A beautiful, emotional, well-written and acted scene. Real full of impact.
Mimi: “Deke and I have spent our lives next to one another, not with one another.”
Trying to rake in the cash, Jake places more bets. He’s stockpiling for Sadie and her surgery, as well as any money he’ll need going forward with his mission. At the little flop house Jake listens in on a party at the Oswald residence, plenty of Russian accents and such. But worst of all? He hears Bill meet with Marina.
Now they’re getting much too closer to Lee and his family. Bill’s up there partying, drinking, laughing with Lee, all the guests. It really has Jake on edge, making him pretty damn (and rightfully) angry. Turcotte thinks he’s somehow making things better, but Jake reassures: “You mess with the past it messes back.” Even Mohrenschildt arrives, too. During a bit of an argument, Jake and Bill knock over a lamp, which reveals the recording device the detective pairing hooked up. Except it all makes Lee go a bit wild, spewing paranoia, before trashing his apartment in front of all the guests. Uh. Oh. Not only that, Bill and Jake have major trouble happening between them, especially after the latter sees his supposed partner in crime kissing Oswald’s wife outside the apartment. This starts a bit of a fight, more blind ignorance from Bill: “I‘m not tryin‘ to save anyone, that‘s over.” He even threatens Jake with outing the whole operation to Oswald.
Lee: “Land of the Free? Home of the Brave? This is such a crock of shit!”
Oswald goes for a bit of target practice while Jake is off frantically trying to determine his next move, and also getting Sadie up to Parkland so she can see a doctor. Cute bit of dialogue here, as Sadie won’t believe Jake when he says people walk around “with their phones in their hands” constantly.
And out of nowhere? The Yellow Card Man (Kevin J. O’Connor). And Jake worries something’s about to go terribly wrong. When he tries to fight against the past, the past fights back. Or is it the doing of the Yellow Card Man? None of the doors will open. The fire alarm won’t set off. Nothing works as it should. He manages to get in and stop the surgery: “She wasn‘t getting any oxygen,” one of the surgeons notes dramatically. Just in time.
Continually, Jake keeps his eye on the buddy-buddy pair of Lee and Bill. And now he worries about the “second shooter” – is this how it happens? Well either way Jake tells Bill about Marina at the hospital, supposedly having the baby alone, calling for her new lover. Rather, there’s no baby coming. Jake is having his old friend committed to the hospital, in order to head off what may possibly happen because of Bill’s relationship with Lee. Of course it helps that, when Bill freaks out, the talk of Jake being “from the future” and such makes the guy seem absolutely batshit crazy. It doesn’t fully sit well with Jake. Although, it must be done; for the greater good(?).
Jake tails Mohrenschildt, almost strangling him in his car. He interrogates George re: Lee Harvey Oswald. Jake poses as some sort of shadowy government official, saying he knows about “Haiti” and other particulars. Sneaky, sneaky, Mr. Epping. Such an excellently savage little scene. Above all, it’s interesting that George seemingly knows nothing of Oswald and the assassination plan on JFK; we get a quick cut back to Al Templeton (Chris Cooper) discussing with Jake how to go about figuring things out. And it is obvious: no way out but to kill Oswald. He’s a lone wolf, or so it appears. Oh, and plus – Jake asks Sadie to marry him, over the telephone from a shitty little booth. It’s the thought that counts.
Sadie: “Tell me one more thing about the future”
Jake: “In the future we‘re married”
Sadie: “I like the sound of that”
Sweet thoughts are cut off quick. Jake finds himself being chased by a crew of men led by the one who took his bet earlier. He ran around making a lot of bets. Turns out, they’re all under the one guy’s belt. Even worse than that, Bill made bets against Jake’s better judgement, and made things pretty damn terrible. Jake takes a rough beating, including a good pistol whip, and then gets left in an alley. He is one hell of a mess.
Waking up, Jake sees flashing lights, he catches glimpses of Sadie’s face, someone else (his former wife Christy; from the future). Is the past taking its toll on him? Is it wrecking his mind as it once did to Al via cancer? We’ll find out more soon.
Stay with me folks. Next episode is the penultimate “Soldier Boy”, and ought to give us more wild, exciting progressions like this one did. Loving this series, such a solid and interesting adaptation of King.