CALIFICACIÓN DE IMDb
6.0/10
617
TU CALIFICACIÓN
Agrega una trama en tu idiomaIn London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the f... Leer todoIn London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident.In London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident.
- Dirección
- Guionistas
- Elenco
- Nominada a1 premio BAFTA
- 1 nominación en total
Curd Jürgens
- Eric Crawford
- (as Curt Jurgens)
Rex Garner
- Waiter
- (sin créditos)
Pat Hagan
- Diner in Restaurant
- (sin créditos)
Victor Hagan
- Diner in Restaurant
- (sin créditos)
Aileen Lewis
- Lady in Teashop
- (sin créditos)
Edward Malin
- Attendant in Men's Room
- (sin créditos)
Jack Mandeville
- Man Exiting Lift
- (sin créditos)
Louis Matto
- Waiter
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Patricia Neal is a blind married woman, who's a victim of hysterical blindness, a term for blindness that is caused by psychological reasons, instead of anything really wrong with the eyes. It seems she was traumatized by something and refused to see things the way they really were. By way of how she relates to sister Samantha Eggar and husband Curt Jurgens, we enter her world. I read one review of this movie that called it turgid. I was never sure what turgid meant. And. sometimes the dictionary only tells you a synonym type of definition, with not enough of an explanation. But if turgid means to tell a story with exaggeration instead of subtlety. Then, I would agree to an extent, but I think this type of film, the story itself, the mood and setting, and its way of telling the story all go well together, up to a point. Things certainly get worse, before they get better. But I liked Ms. Neal's performance (as usual) and I particularly liked the ending, instead of getting a startling and shocking climax which the film feels like it's heading for. It may not be much on the whole, but I would watch this over and the family dynamic and dysfunction only adds to its appeal as a curiosity piece for the Patricia Neal fans.
Allison Crawford is blind, though there's nothing physically wrong with her eyes. What did Allison see that was so shocking it mentally snapped her vision closed?
This concept alone opens up lots of possibility doors and windows. However, the screenplay writer Julian Zimet decided to go for the weakest of the scenarios available. When the mystery is revealed, though you've probably worked it out well before then, you may feel a little letdown... I know I did.
I don't know if this is the same climax the Francoise Des Ligneris novel has, not having read it, but it could have been a little stronger and believable. This, however, is a small point as the direction and the acting should have you hooked before you get close to the ending.
Alexander Singer uses his cast well and isn't adverse to use them to create a few iconic shots. Some nice close-ups are stronger thanks to the casts acting skills. You can see the worry, the concern, the cunning, and the realisation on their faces. I have to admit I still believe both Patricia Neal and Ian Bannen are miss-cast. They are both good in their portrayals but don't quite hit the mark. It's Samantha Eggar who steals the show as the cunning and oh-so-sexy and sensual sister, Robin. I have to say I even loved the sci-fi reading Grandma played brilliantly by Beatrix Lehmann. Though it's Curd Jurgens as Eric Crawford who surprised me the most. Being the crux of the story, you would have thought it strange for him to be cast as this type of character. But he comes across as strong and reassured that I could believe the notion thoroughly.
This is a good film that verges on greatness. If the story had been reworked a little tighter and the Neal and Bannen characters had been better cast, well, who knows? As it stands though, I would gladly recommend the film to all lovers of mysteries, thrillers, and dramas alike. This is a nice way to spend a wet Sunday afternoon. Along with with your beloved, a warm fire, and a tipple of one kind or another.
This concept alone opens up lots of possibility doors and windows. However, the screenplay writer Julian Zimet decided to go for the weakest of the scenarios available. When the mystery is revealed, though you've probably worked it out well before then, you may feel a little letdown... I know I did.
I don't know if this is the same climax the Francoise Des Ligneris novel has, not having read it, but it could have been a little stronger and believable. This, however, is a small point as the direction and the acting should have you hooked before you get close to the ending.
Alexander Singer uses his cast well and isn't adverse to use them to create a few iconic shots. Some nice close-ups are stronger thanks to the casts acting skills. You can see the worry, the concern, the cunning, and the realisation on their faces. I have to admit I still believe both Patricia Neal and Ian Bannen are miss-cast. They are both good in their portrayals but don't quite hit the mark. It's Samantha Eggar who steals the show as the cunning and oh-so-sexy and sensual sister, Robin. I have to say I even loved the sci-fi reading Grandma played brilliantly by Beatrix Lehmann. Though it's Curd Jurgens as Eric Crawford who surprised me the most. Being the crux of the story, you would have thought it strange for him to be cast as this type of character. But he comes across as strong and reassured that I could believe the notion thoroughly.
This is a good film that verges on greatness. If the story had been reworked a little tighter and the Neal and Bannen characters had been better cast, well, who knows? As it stands though, I would gladly recommend the film to all lovers of mysteries, thrillers, and dramas alike. This is a nice way to spend a wet Sunday afternoon. Along with with your beloved, a warm fire, and a tipple of one kind or another.
Obviously based on a novel (and on a novel by a woman too). I saw this film on TV forty years ago and remembered only the menacing conversation the heroine has with her mother, but that was sufficient to make me want to take another look at it again.
Having enjoyed enormous critical acclaim a couple of years earlier with 'A Cold Wind in August', Alexander Singer blew all the clout he'd gained with that freak success in this elaborate, breaktakingly pretentious folly about the love lives of the fabulously wealthy; and found himself condemned to spend the rest of his career in television. But 'Psyche 59' has awarded him the last laugh, it exists.
A weird hybrid of 'The Miracle Worker' and 'The Pumpkin Eater' (both of which ironically starred Anne Bancroft, who replaced Patricia Neal when she nearly died following a series of debilitating strokes while filming '7 Women' in 1965, barely a year after she'd won an Oscar for 'Hud'). Had Ms Neal died this film would probably be better remembered today, and it would certainly make it an even more vivid experience to watch than it already is. She wears a succession of fabulous outfits devised by Julie Harris plus a pair of those chic sunglasses that blind people always do in the movies, the photography by Walter Lassally is stunning, and the restless score by Kenneth V. Jones creates a similar mood to that his music lent soon afterwards to Roger Corman's 'The Tomb of Ligeia'.
Definitely a film to be watched at least once.
Having enjoyed enormous critical acclaim a couple of years earlier with 'A Cold Wind in August', Alexander Singer blew all the clout he'd gained with that freak success in this elaborate, breaktakingly pretentious folly about the love lives of the fabulously wealthy; and found himself condemned to spend the rest of his career in television. But 'Psyche 59' has awarded him the last laugh, it exists.
A weird hybrid of 'The Miracle Worker' and 'The Pumpkin Eater' (both of which ironically starred Anne Bancroft, who replaced Patricia Neal when she nearly died following a series of debilitating strokes while filming '7 Women' in 1965, barely a year after she'd won an Oscar for 'Hud'). Had Ms Neal died this film would probably be better remembered today, and it would certainly make it an even more vivid experience to watch than it already is. She wears a succession of fabulous outfits devised by Julie Harris plus a pair of those chic sunglasses that blind people always do in the movies, the photography by Walter Lassally is stunning, and the restless score by Kenneth V. Jones creates a similar mood to that his music lent soon afterwards to Roger Corman's 'The Tomb of Ligeia'.
Definitely a film to be watched at least once.
As had so often been the case in the past the best thing about Alexander Singer's "Psyche '59" is Walter Lassally's luminous cinematography. This British drama revolves around Patricia Neal, blinded in an accident but aware that her blindness is psychosomatic and not physical. She's married to Curd Jurgens and has a flightly younger sister, (Samantha Eggar), who comes to stay. There's a fourth character played by Ian Bannen who wanders in and out of their lives.
The movie wasn't a success despite its excellent cast and has virtually disappeared. Singer came to the film fresh from his cult classic "A Cold Wind in August" and perhaps more was expected of him than he delivered. It doesn't really work as a thriller; plot-wise it's something of a one-trick pony and outside of its cast of four there is no-one to latch on to and consequently few red herrings. It might have worked as a tale of sisterly rivalry if it wasn't so banal and what almost amounts to a subplot involving Bannen's character almost proves more interesting.
It's not really a bad film, (though the ending is gob-smackingly awful), just a very strange one and it's easy to see why it flopped. It's the kind of film that might appeal to the so-called intelligensia looking for meanings that aren't really there. See it by all means; just don't expect too much.
The movie wasn't a success despite its excellent cast and has virtually disappeared. Singer came to the film fresh from his cult classic "A Cold Wind in August" and perhaps more was expected of him than he delivered. It doesn't really work as a thriller; plot-wise it's something of a one-trick pony and outside of its cast of four there is no-one to latch on to and consequently few red herrings. It might have worked as a tale of sisterly rivalry if it wasn't so banal and what almost amounts to a subplot involving Bannen's character almost proves more interesting.
It's not really a bad film, (though the ending is gob-smackingly awful), just a very strange one and it's easy to see why it flopped. It's the kind of film that might appeal to the so-called intelligensia looking for meanings that aren't really there. See it by all means; just don't expect too much.
Psyche 59 is directed by Alexander Singer and adapted to screenplay by Julian Zimet from the novel written by Francoise des Ligneris. It stars Patricia Neal, Curd Jurgens, Samantha Eggar, Ian Bannen and Beatrix Lehmann. Music is by Kenneth V. Jones and cinematography by Walter Lassally.
Blind Alison Crawford (Neal) lives with her husband Eric (Jurgens) and finds the equilibrium of life upset when her young sister Robin (Eggar) comes to stay. It seems there are secrets to will out, both with Robin and the matter of how Alison came to be blind.
A strange, almost hypnotic type of movie, Psyche 59 aims to be a Freudian thriller but just misses the mark of being great. The set up is intriguing, the twists risqué and the photography suitably moody. Neal gives a fine performance as the afflicted Alison, both physically and emotionally, Eggar is super sultry and raises the temperatures considerably, while both Bannen and Jurgens are fine considering the former is under written and the latter gets a character arc that's a bit of a stretch. Unfortunately the pay off is hopelessly weak, the whole build up holds the attention, you sense we are heading for great dramatic denouement, but sadly that's not the case and it leaves a disappointing taste in the mouth. 6/10
Blind Alison Crawford (Neal) lives with her husband Eric (Jurgens) and finds the equilibrium of life upset when her young sister Robin (Eggar) comes to stay. It seems there are secrets to will out, both with Robin and the matter of how Alison came to be blind.
A strange, almost hypnotic type of movie, Psyche 59 aims to be a Freudian thriller but just misses the mark of being great. The set up is intriguing, the twists risqué and the photography suitably moody. Neal gives a fine performance as the afflicted Alison, both physically and emotionally, Eggar is super sultry and raises the temperatures considerably, while both Bannen and Jurgens are fine considering the former is under written and the latter gets a character arc that's a bit of a stretch. Unfortunately the pay off is hopelessly weak, the whole build up holds the attention, you sense we are heading for great dramatic denouement, but sadly that's not the case and it leaves a disappointing taste in the mouth. 6/10
¿Sabías que…?
- TriviaOriginally announced as Dana Wynter vehicle (in the Patricia Neal role).
- Citas
Mrs. Crawford: I'll read us another chapter of "The Red Sands of Mars."
- ConexionesFeatured in Come to Silence with Samatha Eggar (2019)
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- How long is Psyche 59?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idiomas
- También se conoce como
- Psyche 59
- Locaciones de filmación
- Shepperton Studios, Studios Road, Shepperton, Surrey, Inglaterra, Reino Unido(studios: made at Shepperton Studios, England)
- Productora
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución1 hora 34 minutos
- Color
- Relación de aspecto
- 1.66 : 1
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