Regie:
David CronenbergKamera:
Peter SuschitzkyMusik:
Howard ShoreBesetzung:
Michael Fassbender, Keira Knightley, Viggo Mortensen, Vincent Cassel, Sarah Gadon, Katharina Palm, André Hennicke, Arndt Schwering-Sohnrey (mehr)Streaming (4)
Inhalte(1)
In einer Zeit des gesellschaftlichen Wandels treffen die beiden wichtigsten Analytiker der menschlichen Psyche aufeinander: C.G. Jung (Michael Fassbender) und Sigmund Freud (Viggo Mortensen) arbeiten an bahn brechenden Erkenntnissen, die das moderne Denken revolutionieren sollen. Als die verführerische Sabina Spielrein (Keira Knightley) auftaucht, geraten sie an ihre Grenzen... In seine Klinik in Zürich eingeliefert, ist Sabina für Jung nicht nur eine psychisch labile Patientin von vielen. Der geheimnisvollen Anziehungskraft seines Studienobjekts kann er sich nicht entziehen und eine leidenschaftliche Affäre beginnt. Als diese jäh endet, flüchtet Sabina zu Jungs Mentor Sigmund Freud nach Wien, der sich ihrer Faszination ebenso wenig entziehen kann. Er nimmt sie bei sich aus und bildet sie zur Analytikerin aus. So wird Sabina Spiel-rein letztlich zur Muse beider.
In dieser fatalen Dreiecksbeziehung verschwimmen die Grenzen ihrer Wissenschaft in einem Strudel aus geheimen Sehnsüchten, tief verwurzelten Ängsten und unterdrückter Begierde. In einem Machtkampf intellektueller Eitelkeiten werden aus einstigen Freunden erbitterte Gegenspieler.
(Universal Pictures Germany)
Kritiken (11)
Mit Fräulein Spielrein würde ich spielen und mit Freud eine Zigarre rauchen. Seine Dialog-Kränzchen mit dem formbaren und unentschlossenen Jung sind aber nichts für mich, da würde ich mich lieber an den Zürichsee setzten. Mortensen ist ausgezeichnet und die Bildästhetik köstlich, es sind aber keine Emotionen da. Ein Film, in dem Mainstream-Schauspielstars Phrasen vortragen, die nur ein Minimum der Zuschauer*innen verstehen wird. Bitter Moon von Polański erzählte über die dunklen Seiten der menschlichen Sexualität poetisch und mit Leidenschaft.
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Cronenberg gives a brief insight into the core ideas of Freud and his pupil Jung in an audience-friendly and simple form, which is a rare and welcome gift compared to complexly worded lectures on psychoanalysis or literary scholarly attempts to interpret their work. Yet, thanks to the breathtaking performances of all three leading characters and the masterfully written dialogues that often provide a hidden point, I find Cronenberg's film also attractive for the audience.
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Sinfully unexciting. Formally, A Dangerous Method is a film with very little to reproach, and it will probably delight film theorists, but I’d be lying to myself if I gave it a higher rating. I just didn’t like it, I didn’t find it interesting in the least and the idea of having to watch it again is pretty terrifying. Cronenberg’s old perversion and subversiveness have disappeared under a ton of academically precise make-up, and now just bubble peacefully deep beneath the surface. And looking for it is not fun.
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So, let’s sum it up. What we have here is a movie where the main parts are Carl Jung and Sigmund Freud. And on top of that we have this crazy girl, who had won a windfall in her life and is now making up for it with sexual deviation. The setting – both Zurich and Vienna – is more than nice. And last but not least, there is a cast of actors in which one is better than the other. Judge for yourselves: Viggo Mortensen, Michael Fassbender, Keira Knightley or Vincent Cassel. That’s quite a cast of actors, isn’t it? But David Cronenberg lays it on you in the first minute that you immediately have to stop and think about whether Keira is serious about acting or whether she should maybe call it quits after this film and disappear into another area of art. And then you also realize that even though Jung and Freud are quite interesting characters from history, you will be so bored with them that even your ninety-year-old grandma whose only hobby is to feed her chickens twice a day could not be more dull. I’d been looking forward to an interesting premise and what I got was utter disappointment in all respects. At first sight, it’s such an interesting movie, but at second sight you won’t believe it a corner of the street in Vienna, let alone Zurich.
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Ein jugendstilähnlich reiner Filmstil über die schmutzige Innenwelt einer Person. Ein komplexes Beziehungsnetzwerk Mann x Frau, Vater x Sohn, Freudismus x Jungismus - dabei ist doch das ganze sehr einfach und zugänglich ... Meisterhafte Regieführung, ein atemberaubender Mortensen, ein präziser Fassbender sowie die überraschend dämonische Keira Knightley (höchstwahrscheinlich in der Rolle ihres Lebens). Und ein Drehbuch mit Dialogen, die so lebhaft, lustig und intelligent sind, dass ich dieses Werk als eines der besten Erlebnisse der letzten Monate erachte.
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Sedentary theatrical Cronenberg and a bodice ripper without emotion. A Dangerous Method of psychoanalysis without depth. Yes, it's as sad as it sounds, if not sadder. The only bright moments are when Jung and Freud have the offices to themselves, those old pigs.
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A superb Cronenberg exercise in conversation. The onerous theme of psychology and sexuality is supported by excellent acting performances. Keira’s transformations are brilliant and both Fassbender and Mortensen (constantly chewing that cigar) enjoy their dialog sequences. Detachment and cold comments on the issue is appropriate for scientific research and the even the very smallest expression of emotion is punished by the destruction of the afflicted characters.
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In diesem Fall hat Verbal wieder einmal die Hauptsache benannt, um die es in diesem Film geht. Oder: ein tolles Thema, aber ein ungewöhnlich schlechtes Casting. Ich würde gerne mehr von diesem dekadent ungezähmten Zürich erleben, aber wenn man das nicht kann, war’s das.
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I would expect some wild in the form of decapitated heads or at least explicit sexual creations from David Cronenberg, but there is nothing like that in this film. Well, there is a certain effort towards the latter, but it's more of an artistic walk around it rather than something happening. So, as viewers, we're left with nothing else but to rely on the superb performances, the sensitive film aesthetics, the excellent period setting, and exceptionally well-handled psychology, skillfully transferred onto the big screen. When philosophical debates don't come across as boring or complicated, but quite the opposite, and they even have some pretty excellent points. It's just that the whole thing feels a bit cold and too overly contrived.
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That Cronenberg is in there. It lies concealed in Keira Knightley's nipple crawling out of her corset, Vincet Cassel's face, the subversive dialogue, and especially the character of Jung (who has a lot of points of contact with James Woods' character from Videodrome), but it's littered with tons of costumes and understated studio work, and somehow lacks a significant personal investment. Otherwise, Viggo Mortensen is incredible! PS: Keira Knightley is cast brilliantly and Cronenberg takes advantage of all her physical imperfections (breasts, British-sharp physiognomy, arched forehead, prominent chin, a figure that generally begs for professional help) and makes the actress accentuate them
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David Cronenberg directed an excellent film, which is mainly adorned with strong performances. Personally, I have always been interested in Freud and to some extent identify with his theories, so I would rate the movie even higher. For some, it may be full of "psychobabble," but I really enjoyed the discussions between Jung and Freud, as well as Jung and Spielrein. Cronenberg perfected his last film to Hollywood perfection, but it fits the time period, concept, and story quite well.
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