Psyche 59

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

Allison Crawford (Patricia Neal) is a happy mother of two. She is blind. She lost her memory of the incident and the blindness may be all in her head. Her husband Eric Crawford (Curd Jürgens) seems supportive. Her younger sister Robin (Samantha Eggar) comes for a visit.

I like the opening premise. I really like Robin flirting with Eric right in front of Allison. I wouldn't mind them stuck together and cook like a simmering stew. Instead, they get split up and that energy dissipates. Patricia Neal tries. Samantha Eggar does her sex kitten best. Curd Jürgens gets pairs up with a dud. The nice simmering stew becomes a boring mess as the filmmaker keeps stirring and adding poor ingredients. By the time they reunite with a couple of other characters, the movie has lost the intensity and it could not regain it.

Patricia Neal makes this film the whole way, although Samantha Eggar as her baby sister also dominates the scenes. Curd Jürgens is the husband of Patricia Neal (Alison) while previous to his marrying her, he had a relationship with the sister, which has left some irreversible marks. Samantha Eggar (Robin) is courted by Ian Bannen (Paul) who wants to marry her, but there is some psychological barrier between them, as he can't really reach her. The problem is that Alison is blind after some trauma, she knows it is psycho-somatic as she went blind when there was something she refused to see, which shocked her out of her wits. Gradually this problem is sorted out. The most interesting part is perhaps the grandmother (Beatrix Lehmann) who probably has seen everything quite clearly from the beginning but consistently keeps a perfect poker face - we never learn what she really knows. The film is made with considerable artifice, it's quite a small drama dragged out to preposterous dimensions by transport stretches, making the film appear much longer than it is. There is a fine moment in the end when Patricia Neal finally opens her eyes and lets in the light, while she virtually leaves everyone else in the darkness of their mess.

Those who think of Patricia Neal as a strong lady who can take care of herself, rent Psyche 59, a thriller. She's blind and completely dependent on the kindness of her husband, Curd Jurgens. Curd is a wonderful companion, waiting on her, showing her patience and kindness, and providing a personal maid to attend her when he's not around. Ian Bannen is also devoted to her, but since she's a married lady, he knows he can only be there for her as a friend.

The story would be interesting enough with just the above paragraphs as a synopsis, but it gets even more complicated and intriguing when Patricia's sister, Samantha Eggar, comes for a visit. Young, pretty, sexy, she's the kind of sister no one wants to have - let alone a blind woman who fears she's burdening her husband! Samantha constantly tries to entice Curd, and since he's a red-blooded man (and a very sexy one, if you've seen some of his other movies), he can't stay immune to her forever...

This thriller is entertaining, but I wouldn't really recommend watching it with your sister, or your husband if you have a sister. It has strong performances and a solid story, but it does have a European flavor that sometimes comes across as odd in America. Check it out to see what you think!

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. During some of the flashbacks, there are some blurred swerving camera motions, and that will make you sick. In other words, "Don't Look, Mom!"

Françoise des Ligneris's novel "Psyche '59" becomes a fine dramatic vehicle for the always-sympathetic Patricia Neal, here playing the wife of a wealthy businessman who is suffering from 'hysterical blindness' after a mysterious fall; when sister Samantha Eggar comes to live with her after a failed attempt at marriage, years-old tensions (both resentful and sexual) between Eggar and brother-in-law Curt Jurgens rise to the surface. As photographed in glossy black-and-white by the esteemed Walter Lassally, the picture is a shiny, classy piece of goods, yet director Alexander Singer takes an awfully long time to warm up. The plot (or rather, the point inherent to the plot) doesn't make itself known for at least an hour into the proceedings, while the pretty images and visual tricks eventually become a nuisance. Singer doesn't appear to wrap things up cohesively with his finale, yet it's actually his best bit: Neal's mental handicap and Eggar's need to be the proverbial thorn in the rosebush are dealt with in solely visual terms, and the silent emotions released are triumphant. A near-miss, but worthwhile for fans of psychological melodramas verging on soap opera. **1/2 from ****