A Dangerous Method
Directed by David Cronenberg
Distributed by Sony Pictures Classics
Despite its promises of being a riveting narrative about a little-known figure in the development of psychoanalysis, David Cronenberg’s A Dangerous Method ultimately becomes little more than a rushed, over-romanticized summary.
While boasting a stellar cast that includes Viggo Mortensen, Michael Fassbender, Keira Knightley, and Vincent Cassel, as well as spectacular locales in Vienna and Zurich, the disjointed pacing and the stolid style of narrative doesn’t allow for a satisfying exploration of the characters.
The film, set in the first decade of the 20th century, loosely depicts the personal and professional relationship between two of the most influential figures in modern psychology: Carl Jung (Fassbender) and Sigmund Freud (Mortensen), as well as the emergence of Sabina Spielrein, a bright young ex-patient who influences Jung’s theories and eventually goes on to have an affair with the married psychoanalyst.
Christopher Hampton’s screenplay is adapted from his play The Talking Cure, which is based on John Kerr’s non-fiction book A Most Dangerous Method. Hampton’s screenplay depicts these turbulent relationships in a series of extended conversations. These range from Spielrein’s disturbing accounts of childhood abuse and sexual tendencies to Freud and Jung’s witty and often humorous exchanges.
Knightley’s portrayal of the hysteric Spielrein is indeed haunting, whereas Mortensen deftly plays up Freud’s dry wit and candour. However, the radical and idealistic fervour of the psychoanalysts is lost in the dialogue.
Jung’s fascination with séances and mysticism, which Kerr’s book explores thoroughly, is not even briefly mentioned, despite it being a profound motivator in his later theories and his dispute with Freud. The two colleagues spend scene after scene engaged in idle banter, with the brief mentions of their work which amounts to little more than name-dropping psychoanalytical terms.
Spielrein’s own sexual repression, and her resultant affair with Jung, is only depicted with a passing glance. The extremely restrictive social mores of the time, and their resultant effects on Spielrein and Jung’s relationship are all depicted indirectly through conversations and correspondences. Ideally, this would allow for a great deal of nuance and subtext, and invite the informed viewer to explore the enigmatic personalities of the characters.
However, the mostly still frames and long shots never allow for that subtlety to materialize. The settings, despite their tremendous natural beauty, become distracting and anticlimactic at times.
Spielrein’s interest in paraphilias is unsatisfactorily covered in a few pallid scenes where Jung flogs her, rather unenthusiastically and with much restraint. These scenes also comprise the body of their affair as depicted in the film, and the scenes rapidly flit through their long and complex relationship.
Perhaps the most disappointing aspect of the film is that, at times, it does titter towards delivering on its promise. Knightley’s convulsive delivery convinces the audience of her deep inner conflict. Small vignettes of Jung’s character quirks, such as piling too much food on his plate at supper at the Freud household, or over-indulging in salt and pepper while at lunch with his wife, endear him to the audience.
Unfortunately, such small details are seldom incorporated into the film, much to its detriment.
In the end, the story feels rushed and incomplete, and the sense of anticipation and interest is only gratified with a bare-bones summary of an exciting period in the history of psychology.
