Psyche 59 (1964)

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

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.

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

This film came on Turner Classic Movies recently, with the host mentioning that it was the film's debut on that channel, and the first film Patricia Neal made after winning the Oscar for Hud.The story concerns a privileged upper-class blind woman named Alison (Neal), her husband Eric (Jurgens) and her younger sister, Robin (Eggar). At first all seems perfectly OK, given the circumstances, but bits of conversation are dropped here and there, darting looks are thrown here and there, and soon we realize that there is something lurking beneath the veneer of a privileged life. Alison, in the final stages of her second pregnancy, suffered a fall in her home that rendered her blind, though as she states early on, it's not that her corneas don't function, it's that her brain won't permit her to see images (paraphrasing here). Apparently this happened in 1959, hence the "'59" in the title: The story then takes place in 1964, five years after this fact, over a time period that seems to be about a month, or maybe two, when Robin re-arrives back into the lives of Eric and Alison after what appears to be a 5-year absence.The black-and-white cinematography adds much to this film, such that I believe if it were in color, it would not be as effective. The language, dialogue and subject matter covered was ahead of its time, at least by U.S. standards, but stylistically, this matches a number of thrillers and socially-conscious dramas that came out of England in the early- to mid-1960s (e.g., Victim, Pumpkin Eater, etc.).The first part of the film, set in London, sets up the story beautifully, and it isn't long before we start to realize that something's "up" - the carefully-worded dialogue, with certain key words and phrases omitted, or the glances of the blind Alison behind her sunglasses, to the beat of her words...you see that all that glitters is not gold, so to speak.The second part of the film takes place at the characters' country house, located near a coastline; It is here that the set-up for what could be a riveting tale, as depicted in the first part of the film, loses steam and slows to a crawl, such that the conclusion is neither climactic nor satisfying; this is a shame, because it could have been done much better. Besides that, I do agree with the comments made by a previous observer, including that the grandmother doesn't seem quite grandmotherly (and actually, I'm sort of confused as to why this character is even in the picture).Nonetheless, the acting is superb by all the leads, and particularly by Neal, who carries the film, in my opinion. Pay attention to every movement she makes, whether it's with her eyes, her head or her hands; listen intently to every syllable she utters, for it is through her character that we understand the real story of what has happened, or is happening, to these three people.The movie is based on a book by the same name by Francoise des Ligneris, which is available online.

I only found two other comments about this movie. How strange for such a gifted actress as Ms. Neal was, even before coming to Hollywood.I enjoyed watching Ms. Neal, but the two comemnts I read pretty-much says it all - lust between "Robin" (Samantha Eggar, the younger sister) and "Alison Crawford's" (Patricia Neal) hubby (Kurt Jurgens, he of the rugged handsomeness in his earlier days). All the stern looks between "Robin" and "Eric" don't fool anyone- "Robin" is spitefully tempting to seduce "Eric", who pretends he hates her.Poor "Alison", blind from a fall down the stairs, knows there is some heat someplace, but can't remember it - nor why she's blind. She's been told by physicians her eyes are perfect, but her brain won't let her "see". Add to this intrigue, handsome "Paul" (Ian Bannen) who is in love with and wants to marry "Robin", who uses him for her sadistic desires, and the playing gets uninterestingly rough. We all know that "Alison" is going to remember the crisis she can't "see" - Granny (somebody !) knows the whole story, and tells "Alison" "you were always greedy and took what you wanted". Guess what is was ? You're right - she "took" "Eric" and eventually "sees" he and "Robin" in a tight, romantic grip. End of story, except "Alison" smiles off into the sunlight, knowing she can finally "see" her children and everything will be o.k. without "Eric".As I write, without Ms. Neal, dud !!! The film is so old, younger people wouldn't even know-of too many of these actors/actresses.More interesting, I viewed this film on TCM, which showed a live interview with Ms. Neal afterward (I adored for her candidness). She had a good acting/film-career, but much tragedy in her private life - two debilitating strokes and an impossible romance with Gary Cooper, deaths and divorces, etc. Hardly able to conduct a normal life after her strokes, she made a courageous recovery and went-on in her career.The problem for release-dates of films is, you never know just when they were shot.......we now know that films can be shot much earlier than they were released, sitting "in the can" for years before some producer gets the balls to back them. Therefore, just enjoy Ms. Neal's acting and get over the truly "B" rating for this film. Director Alexander Singer didn't really direct: just gave-out the script and let the actors/actresses go-at-it. Julian (Halevy) Zimet wrote the script. Good for them - I recommend "Psyche 59" for a quiet evening, if you don't want to sleep on explosions and blood.........