Lilith

Robert Rossen would only direct ten films in the space of 17 years and, despite their sometimes erratic quality, he was a talented and highly respected figure. His neglected and misunderstood swan-song was deemed by some a means of reparation for his former Communist beliefs and the fact that he was a friendly witness during the HUAC hearings (the confused hero wanting to make good but ending up disillusioned); when the picture was mauled by critics, he got cold feet and bailed out of his intention to present it at the Venice Film Festival!

Few American movies up to this point had revolved around insane asylums, most notably the prestigious THE SNAKE PIT (1948), Vincente Minnelli's glossy, all-star melodrama THE COBWEB (1955) and the somewhat hysterical SHOCK CORRIDOR (1963) from maverick film-maker Samuel Fuller. Still, this is more of a character study than a serious treatment of its subject matter (which, outside of the inmates played by Jean Seberg and Peter Fonda – a nice early dramatic showcase for the latter – are restricted to a handful of intense irrational outbursts, for lack of a better phrase). Even so, Warren Beatty’s brooding occupational therapist protagonist is himself often impenetrable (despite the sympathetic guidance of asylum head Kim Hunter) – justifying his own breakdown at the film’s abrupt, haunting conclusion. The essential gloominess of the piece is, however, offset by passages of lyricism (the ethereal yet experimental black-and-white cinematography by veteran Eugen Schuftan – who had won as Oscar for Rossen’s previous film, THE HUSTLER [1961] – is exquisite throughout): that said, sequences such as the lengthy interlude at the fair (complete with an archaic jousting tournament) seem to be making some obscure point or other which renders it a slightly pretentious whole.

Apart from the fact that therapist and patient are involved in a tempestuous love affair, the film’s controversial aspects entail scenes subtly depicting paedophelia, a lesbian relationship and also the temptation for an extra-marital fling by Beatty’s former girlfriend (Jessica Walter); a young Gene Hackman appears as Walter’s workaholic but uncouth husband in one scene – naturally, he would re-unite with Beatty for Arthur Penn’s seminal BONNIE AND CLYDE (1967). Despite his classic good looks, Beatty didn’t conform to Hollywood standards – opting from the outset for gritty and often demanding fare (including John Frankenheimer’s ALL FALL DOWN [1962] and Penn’s MICKEY ONE [1965]) whenever he could. The beguiling Seberg exudes effortless sensuality in the role of the enigmatic Lilith which, reportedly, was her own personal favorite; chillingly, the climactic regression into total madness of her character parallels that of the actress herself who would eventually take her own life 15 years later!

This film was referred to me by a classmate at the U.S. Navy school I was attending in mid-1965. I was a naive young sailor who invariably felt like I didn't fit in. I had felt very connected with James Dean, specifically in REBEL WITHOUT a CAUSE -- talk about a misunderstood young man! Being a bit disturbed seemed to work with both James and myself when attracting kind-hearted and trusting young women.

That being said, and having no idea what the movie was about, I paid my dime (at the base theater), entered, visited the snack bar and proceeded to have my whole world altered. Warren Beatty a kindred spirit -- honest, compassionate, trusting and vulnerable, with a few secrets of his own best kept buried deep within. Jean Seaberg was a vision of desire, sensuality, and intrigue, with more than enough dark secrets herself to draw me and Warren into her world like the largest, strongest magnet on Earth. Before long the co-stars were as one in Lilith's playground. I quickly followed eagerly -- her world looked far better than any I had ever seen or imagined. I was lead on a fabulous, ALICE IN WONDERLAND journey where, while much was familiar, I wasn't at all sure which way was up.

As the movie ended I still had no sense of direction. Hoping to gain greater understanding of where I had ended up and how to return to the "real" world, although I was not entirely sure I wanted to, I exited the theater, paid another dime and returned to my still-warm seat.

No answer was forthcoming -- only more questions, as I re-entered Lilith's wonderland. I think I have never left, nor do I have even the slightest desire to.

The mental institution in this film, called "Poplar Lodge" I believe, is modeled on Chestnut Lodge, a Bethesda, Maryland institution famed for early attempts to establish interpersonal relationships with (rich) psychotic patients. This fits the institutional style depicted in this film. Hopwever, the main characters do not seem to be mentally ill so much as metaphores for the madness es in our society. The perception that sexual expression represents evil or crazy behavior, not changed all that much from the time this film was made, frequent wars, and the way sensitive people are brushed aside as others hustle toward dubious goals, are all personified as forms of madness. Okay so far.

But the film does not quite work. The character played by Anne Meacham, seething with barely suppressed sexuality, works, but Lilith, played as a golden haired all American, girl next door beauty, doing and saying odd things, making up her own language, seeing herself as an outside observer of our society, is a character which doesn't hit home. She seems more quirky than mad. That she drives men into destructive actions seems somehow unlikely. At the most, she may be a catalyst for their weaknesses to be expressed.

Jean Seberg doesn't personify madness. She seems just bemused. Warren Beatty conveys a lack of inner direction, a developing depression, and strange longings by looking blank, seeming inarticulate, and acting as if he has no idea of the direction his next step will take. All of this slows this film down to a very languid pace, frequently accompanied by a relaxed bop-along jazz score. Thus, the film is too slow, a long windup for a soft pitch. It is hard to feel much tension, even though it is clear that there is supposed to be a lot of tension. Nice try, but no cigar.

This forgotten, totally under-appreciated film from 1964 is very powerful (I believe it was Robert Rossen's last film). Strangely hypnotic and frightening in a very subtle way, this showed Beatty three years before B&C showing the potential he had in Splendor in the Grass. He also met Gene Hackman while making this and later cast him as his brother in B&C which launched Hackman.

There is also a splendid performance from Peter Fonda, of all people. As Hackman's wife, Jessica Walter showed how amazing she was at a relatively young age and just never got the right parts in decent films. You'll also see a young Rene Auberjenois and Olympia Dukakis in a bit part. I hope more people look into this devastating piece on mental illness.

This is a film I have never seen and I enjoyed the great acting by Warren Beatty, (Vincent Bruce) and Jean Seberg, (Lilth Arthur). Vincent Bruce is a Korean War Veteran and has returned to his home town and is trying to find a job and eventually he finds work in a mental institution. Vincent is assigned to a help a very attractive blonde girl named Lilth who never goes outside and once she set her eyes on Vincent things change and there becomes a great improvement with her mental state of mind. Lilth really spins a web all around Vincent and even teases him with a lesbian relationship with another female inmate. This is a very different and interesting film with young stars just starting out like, Gene Hackman and Peter Fonda.