(:: History ::)
Zurich, on 1904. Carl Jung, 29 years old, psychiatrist, is at the beginning of his career and shares his life with his wife, Emma. Drawing inspiration from jobs of Sigmund Freud, Jung attracts the experimental treatment known as psychoanalysis on Sabina Spielrein, 18-year-old. Sabina, young cultivated Russian who speaks German, was diagnosed "hysterical"; and has reputation to be agitated and violent. During its sessions with Jung, it displays a youth spoilt by humiliations and sado-masochistic sexual element.Thanks to their correspondence, Jung reaches a big intellectual complicity with Freud, on the case of Sabina. Freud asks Jung to treat a colleague, Otto Gross drug addict and amoraliste impenitent. Under his influence, Jung is going to sweep his own ethics and is allowed to go to his attraction towards Sabina. It is the beginning of a dangerous link consequences of which are going to be also unexpected as founded mental.
Date (s) of Exit (s):
December 21st, 2011 | 
September, 2011| Accomplished by: | David Cronenberg |
| With: | Viggo Mortensen, Keira Knightley, Michael Fassbender, Vincent Cassel, Sarah Gadon, André Hennicke, Arndt Schwering-Sohnrey, darling Remé, Mareike Carrière... |
| Distributor: | In march Distribution |
| Type: | Drama, History, |
| Country: | Canada, England, Ireland, Canada, Germany |
| Length: | 1 h 39 |
| Original title: | The Talking priest |
Official Site (s):
USA: http://www.sonyclassics.com/adangerousmethod/USA: http://www.facebook.com/adangerousmethod
Festivals, Evénements:
Venice 2011
Toronto 2011
Telluride on 2011
(:: Trailer for A Dangerous Method ::)
(:: Free Streaming to Watch A Dangerous Method Online ::)
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(:: Pictures Of A Dangerous Method ::)
(:: Downloads Links ::)
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(:: Wings of the film ::)
Preface:
For its first "historical" film, Dav idem Cronenberg chose the «household for three» which composed Sigmund Freud, C.G. Jung and Sabina Spielrein at the beginning of the twentieth century. It isn't of course about a light comedy, but about one of the big philosophical battles of our epoch, the protagonists of which went down in history of ideas. The young person Sabina Spielrein was indeed the patient of the young doctor Jung, then her adherent and his mistress, and finally a bright performer who tried, at first, to conciliate the founding father of the psychoanalysis and his Zurich adherent, to side finally of the Viennese master. The link of young Jung with an extremely neurotic girl undoubtedly played a major role in the quarrel of both men and finally in the schism which separated both schools inevitably. When they know that the primate of sexuality in the unconscious was the first sticking point between Jung and Freud, they won't be surprised that it is precisely the history of a secret and prohibited loving passion that constitutes the woof of A DANGEROUS METHOD.
For its first "historical" film, Dav idem Cronenberg chose the «household for three» which composed Sigmund Freud, C.G. Jung and Sabina Spielrein at the beginning of the twentieth century. It isn't of course about a light comedy, but about one of the big philosophical battles of our epoch, the protagonists of which went down in history of ideas. The young person Sabina Spielrein was indeed the patient of the young doctor Jung, then her adherent and his mistress, and finally a bright performer who tried, at first, to conciliate the founding father of the psychoanalysis and his Zurich adherent, to side finally of the Viennese master. The link of young Jung with an extremely neurotic girl undoubtedly played a major role in the quarrel of both men and finally in the schism which separated both schools inevitably. When they know that the primate of sexuality in the unconscious was the first sticking point between Jung and Freud, they won't be surprised that it is precisely the history of a secret and prohibited loving passion that constitutes the woof of A DANGEROUS METHOD.
Of the stage on the screen:
IN DANGEROUS METHOD a scenario in the middle of the years ninety was first. Christopher Hampton, who was always interested in the psychoanalysis, passed researches a lot of time with fa ire on relations between Jung and Freud, visited the hospital of Burghölzli in Zurich where he discovered the history of Sabina Spielrein. Hampton started to develop the equipment which he had collected in a play to which he gave the title of The Talking Cure, and that was a big success when she had gone up to National Theatre of London with Ralph Fiennes to Jung's role. Some years later, David Cronenberg asked Hampton to adapt the room for the screen.« I had found in the genuine article of Christopher Hampton a material improved for the cinema. The fact that the characters indeed exist, that they are exceptionally clever beings and that the triangle Freud-Jung-Sabina gives birth, in a sense, to the modern psychoanalysis, enticed me tremendously.»
Hampton began therefore rewriting the room in form of scenario, weaving from quotations and from correspondence of these authentic historical characters, the woof of what was a big debate of ideas. Cronenberg offered plan to his old friend Jeremy Thomas, independent producer who always worked with the big authors of the contemporary cinema and with whom he had already completed successfully two big films: BARE FEAST and CRASH. As for Christopher Hampton, the chance to be able to work with Cronenberg, film director whom he admires, drew its membership away immediately:« I think that David has this mixture of cold objectivity and of violent commitment which enthralls me. It is a rather rare osmosis which sticks perfectly on this story, because he just describes the way these characters try to redefine rules of civilisation and to lead their patients towards a "normality", progressively while becoming aware that there isn't norm and that they have to all live, as us in some way, in margins and have to fit to cruel contradictions».
Jung, Freud and Sabrina:
When it was necessary to choose the actors who are going to represent these historical characters casting proved to be primordial. As said Jeremy Thomas: «It is a study of the human soul through the characters who are young. Jung has Sabina thirty years, Freud fifty, hardly about twenty and Gross a little more than thirty years. It is Michael Fass bender, Viggo Mortensen, Keira Knightley and Vincent Cassel that David chose, and I found this superb choice.»
Michael Fassbender - Carl Gustav Jung:
«What very places a value in A DANGEROUS METHOD, it is that the film restores us a slice of life of these famous people of whom we are almost unaware of everything. The film remains very accessible as much as they discover that they are only human beings, all reacting as us. They have the same desires and the same jealousy. It was very bright people, that had necessarily problems of ego. It is interesting to see them reacting when they feel booby-trapped and how they act on their circle, sometimes the closest.»
Viggo Mortensen - Sigmund Freud:
Loyal supporter has his "method", Mortensen completely dived in the study of Freud, composing his character with the usual thoroughness: he was to the point of making a pilgrimage in his native residence, in his flats of Vienna and of London, he visited Burghölzli, read most his books, studied photos and bands of news and was even to the point of finding the mark of the cigars as he smoked. «Freud continued getting dressed during dozens years as it was made in the XIXth century. He wrote German in full Gothics and he has never agreed to conform to "modern" morals. There is something very definite in the way he comes or of expresses himself. When they consult the letters which he wrote to Jung, there is one always very high level of intelligence, but in the dialogues, it was very odd and pleasant. I felt a great pleasure to play all these small nuances.»
Keira Knightley - Sabina Spielrein:
Having read scenario, she started immediately to study the world of the psychoanalysis, compiling a tremendous number of books and articles on subject, as well as all information which she could find regarding Sabina. Agitated and hysterical Sabina whom we discover at the beginning of the film is very distant from characters whom Keira Knightley interpreted until now. It was a challenge which Keira took up enthusiastically. «Sabina is the victim of a big mental riot when she arrives the first time at the hospital, but I think that what disconcerts Jung most, it is that she is extremely clever, audacious and opened. He read a lot on Freud and its psychoanalytic method and he begins using the girl as a kind of decisive test of her «talking cleans out». As she answers it very well, I think that his honesty, his intelligence and his force intrigue the young psychiatrist and make him feel ill at ease a bit.»
Otto Gross - Vincent Cassel:
After THE PROMISES OF SHADOW, Vincent Cassel jumped on the occasion to be able to work once again with Cronenberg. «Otto Gross is really sick. He is drug addict and maintains numerous relations with many women and children. There is a retort which sums up the character well: «Never express nothing. »In a sense, it is a nihiliste.»
Sarah Gadon - Emma Jung:
«Even if Emma has the biggest hopes as for his marriage, as history takes place, she must continuously come to compromises. His role to Jung was very important, not only because she supported their home life, but also because she represented her most infallible support.»
The air of time:
Cronenberg maintains with the team a special relation which, for some of his members, exists since dozens years. Having set stages up with his actors during repetitions, he organises a general repetition where all elements of production are defined. Finally, he turns. As explains it to us Vincent Cassel, there is no ambiguity, either on the side of the actors or for the technical team. «What is perfectly clear, with Cronenberg, it is that he is clear. He knows what he wants and this confidence spreads to all those who work with him. It is a question which settles always, in the cinema, «what is special with this movie director, which are its different styles?» But with all big film-makers with whom I worked, it is always a matter of clarity. It is the most important thing. The notes which David transmits to us are always concise and he works with confidence and easiness throughout the day.»
Carol Spier who worked as interior decorator of Cronenberg since practically the beginning, took care of locations, before handing over of decoration to another veteran of the troops Cronenberg, JAMES MCATEER. They arrived at conclusion that decors must be saturated and deaf colours; as though the huge consumption of cigars to Freud influenced all atmosphere. And they combined this tone prevailing with the palette limited by costumes: dark costumes, pale dresses, uniforms grey of nurses.
It fa it more than twenty years than Peter Suschitzky, manager of the photograph, works with Cronenberg. As MCATEER, he wanted that lighting and job of the camera support scenario and actors. «What interested me, it was to give the impression that it was a film and of the filmed theatre. We didn't make extravagant movements of camera, and when the camera moves, it is only because it is necessary. We filmed stages simply, without useless embellishments, because the actors have huge qualities and because their dialogues are of a big intelligence. It is it that inspires the film.»
MCATEER and his collaborators drew inspiration a lot from photographs of epoch for decors, especially for offices of Jung and from Freud. As in reality, the office of Freud was a room lambriss ée of dark wood, filled with books, with relics, with various objects and with Antiques which blocked its office. The whole reinforces the feeling of claustrophobia during the marathon which was the first nocturnal maintenance in private of Jung and Freud.
It was the case dreamt for the character that Viggo Mortensen represents. «I had already worked with Carol Spier and JAMES MCATEER and they are incredible! The way they conceived this decor is fabulous. I don't say it because he is linked to my character, but the office of Freud is really a masterpiece. As I know them, I was capable of saying to them: «I went to Vienna and I made research quantity before filming; I found full of books there. I really did researches on what Freud read, as much for the pleasure as for the job, and I found most these books in old Viennese bookshops.»
IN DANGEROUS METHOD what is in very definite epoch, what allowed Denise Cronenberg, the costumer, to dive completely in research. «For a costumer, it is marvellous to work on a scenario which covers a definite period. She goes from 1904 till 1913. I made accomplish the costumes of title roles to CosProp, in London, where I chose cloths and styles. It was a huge job. I never have, in my life, having chosen so many laces!»
When Fassbender put glasses and costume of its character, it was immediately transported in Jung's world. «There was a big elegance in the keepings of this epoch and fact to endorse a costume helps you a lot. When they put the shoes which the character carries, and all these small details as the watch with fob, this allows you to enter the skin of the character better.» When it was necessary to imagine Sabina's aspect, they noted that there were very few photos of her. Quand il fallut imaginer l’aspect de Sabina, on constata qu’il existait très peu de photos d’elle.
The female costumes evolve slowly for the duration of the film. In 1904, for example, the women carried Victorian corsages to raised collar, and the form of dresses underlined girdles. From 1910 the silhouette started to change and, in 1913, skirts had become narrower. As much as Sabina passes patient's status to that of helper of Freud, his look changes in the unison, passing pale dresses and defeated hair, in more sophisticated keepings and in wiser hairstyles. The make-up artist and hairdresser Stephan Dupuis (holder of an Oscar) spent a lot of time to examine many photographs so that actors and extras don't detonate. By way of preparation, Dupuis who is also a talented artist, drew and painted all its plans of making-up and of hairstyles for Sabina, going even to the point of painting the nose of Freud on photos of Viggo Mortensen, as visual help for its job of special making-up.
Howard Shore, rewarded for three Bones coaches, works with Cronenberg for more than thirty years. In the course of time, their collaboration became intuitive, beyond debates on the characters and scenario. Partition, key element which accompanies the emotional trajectories on the screen, took a more intense signification when it discovered that Jung and Sabina shared the same passion for Siegfried, the opera of Wagner. «Siegfried's Myth is really in the centre of this history and of relation between Sabina and Jung. I wanted to adapt pieces drawn by the opera and to link them up with Jung's history and Freud. Sabina fantasized Jung in Siegfried and she imagined that she carried a child of him, called Siegfried. Freud had a dream where he destroyed Siegfried. I wanted that my music expresses this complex relation to all three and to link it to the characters.»
