Plot
Switzerland, the early 20th century. Treating hysterical patient Sabina Spielrein (Knightley), up-and-coming psychotherapist Carl Jung (Fassbender) uses a method popularised by Sigmund Freud (Mortensen), the leading proponent of psychotherapy. After curing her, Jung then begins an illicit relationship with Spielrein and a friendship with Freud, who positions himself as a mentor and father figure. But while Jung is placed as an eventual successor, the collaborators grow apart when he starts to question some of Freud’s theories…
Review
Appropriately for a movie concerning a treatment named “the talking cure”, A Dangerous Method is a decidedly talky affair. Based on the play by Christopher Hampton (who provides the screenplay), the film’s stage roots are fairly evident, while director David Cronenberg moves even further away from his body-horror roots and omits his usual taste for visceral violence. But whilst the filmmaker’s last two thrillers – A History Of Violence and Eastern Promises – were both successful and as accessible as anything he’s ever made, this third offering in his Viggo trilogy isn’t as fascinating as it perhaps should be.
No doubt, it’s an intelligent and provocative chamber piece, but many viewers will also find it a somewhat underwhelming experience. Whilst those inclined towards the subject matter will likely find all the theoretical discussions interesting (is sex the root of all human psychology?), it’s all too easy to imagine your average audience member switching off early doors with all the relentless psycho-babble. Despite the occasional (and literal) lashings of S&M, it’s an ironically restrained and buttoned-down film, which never proves quite as gripping as one would hope, given the prospective intellectual sparring-match which the premise looks set to deliver.
Still, it’s the relationship between the two fathers of modern psychoanalysis which remains the movie’s most involving dynamic, as Michael Fassbender’s apprentice begins to question Viggo Mortensen’s seductive father figure. But yet, while this duo is really rather well cast, you can’t shake the feeling that they’re shackled by the respective restraints of their parts. Asked to deliver a poker-faced performance which largely keeps Jung’s emotions hidden, Fassbender is fine but not outstanding, while Mortensen – who’s arguably achieved some of his finest work under Cronenberg – is so quietly compelling that Freud’s comparative lack of screen-time as the third-wheel becomes frustrating.
As for Keira Knightley, while much has been made of her early jaw-jutting and writhing body contortions (which some viewers won’t be able to see past, no matter how much Cronenberg argues that such movements are accurate), she eventually settles into a decent turn. In addition, although A Dangerous Method is very much a three-hander, there’s also a scene-nabbing appearance from Vincent Cassel as a psychoanalyst who believes in acting on one’s darker impulses, and a fine, mournful-tinted piano score from composer Howard Shore.
Verdict
Though interesting, intelligent and evocative, A Dangerous Method isn’t nearly as fascinating as it needs to be. Average viewers will likely find the incessant psycho-babble dull, while Cronenberg fans will note that the filmmaker has moved even further from his body-horror roots.
