User reviews

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.

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 ****

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

Obviously based on a novel (and on a novel by a woman too)! I saw this film on TV forty years ago and remembered only the menacing conversation the heroine has with her mother, but that was sufficient to make me want to take another look at it again.

Having enjoyed enormous critical acclaim a couple of years earlier with 'A Cold Wind in August', Alexander Singer blew all the clout he'd gained with that freak success in this elaborate, breaktakingly pretentious folly about the love lives of the fabulously wealthy; and found himself condemned to spend the rest of his career in television. But 'Psyche 59' has awarded him the last laugh, it exists!!

A weird hybrid of 'The Miracle Worker' and 'The Pumpkin Eater' (both of which ironically starred Anne Bancroft, who replaced Patricia Neal when she nearly died following a series of debilitating strokes while filming '7 Women' in 1965, barely a year after she'd won an Oscar for 'Hud'). Had Ms Neal died this film would probably be better remembered today, and it would certainly make it an even more vivid experience to watch than it already is. She wears a succession of fabulous outfits devised by Julie Harris plus a pair of those chic sunglasses that blind people always do in the movies, the photography by Walter Lassally is stunning, and the restless score by Kenneth V. Jones creates a similar mood to that his music lent soon afterwards to Roger Corman's 'The Tomb of Ligeia'. Definitely a film to be watched at least once.

Allison Crawford is blind, though there's nothing physically wrong with her eyes. What did Allison see that was so shocking it mentally snapped her vision closed?

This concept alone opens up lots of possibility doors and windows. However, the screenplay writer Julian Zimet decided to go for the weakest of the scenarios available. When the mystery is revealed, though you've probably worked it out well before then, you may feel a little letdown... I know I did.

I don't know if this is the same climax the Francoise Des Ligneris novel has, not having read it, but it could have been a little stronger and believable. This, however, is a small point as the direction and the acting should have you hooked before you get close to the ending.

Alexander Singer uses his cast well and isn't adverse to use them to create a few iconic shots. Some nice close-ups are stronger thanks to the casts acting skills. You can see the worry, the concern, the cunning, and the realisation on their faces. I have to admit I still believe both Patricia Neal and Ian Bannen are miss-cast. They are both good in their portrayals but don't quite hit the mark. It's Samantha Eggar who steals the show as the cunning and oh-so-sexy and sensual sister, Robin. I have to say I even loved the sci-fi reading Grandma played brilliantly by Beatrix Lehmann. Though it's Curd Jurgens as Eric Crawford who surprised me the most. Being the crux of the story, you would have thought it strange for him to be cast as this type of character. But he comes across as strong and reassured that I could believe the notion thoroughly.

This is a good film that verges on greatness. If the story had been reworked a little tighter and the Neal and Bannen characters had been better cast, well, who knows? As it stands though, I would gladly recommend the film to all lovers of mysteries, thrillers, and dramas alike. This is a nice way to spend a wet Sunday afternoon. Along with with your beloved, a warm fire, and a tipple of one kind or another.

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" opened at an art theatre in New York City in 1964. Receiving lukewarm reviews, it closed quickly, and was then used as a co-feature in neighborhood theatres. I consider it a near-masterpiece. Starring Patricia Neal, Curt Jurgens, and Samantha Eggar, it is a spellbinding study of a woman suffering from hysterical blindness, her sex addict husband, and her younger sister, who it seems was sexually imposed-upon at a young age, and who is both cruelly nymphomaniacal and masochistic as a result. This film was clearly ahead of its time.

The screenplay by Julian Zimet, from a novel by Francoise des Ligneris, is a finely-nuanced piece of work.

Alexander Singer might be considered a great director of films about women's issues, as well as a great director of actresses. Consider his direction of Lola Albright in "A Cold Wind in August" three years before, and his direction of Lana Turner in "Love Has Many Faces" the year following. The fact that all three of these films were failures is clearly the reason why Singer is not widely known ("Love Has" having failed simply because its critics and audiences could not appreciate its deliberately melodramatic style).

The cinematography in "Psyche '59" is outstanding. One shot, in which the camera manages to look upward towards Samantha Eggar, while she is lying on the sand, took my breath away. Within the context of the scene, this use of strange camera angle was intensely effective, and not at all pretentious. Whether it was Singer's idea, or that of cinematographer Walter Lassally, I guess I'll never know.

The only flaw in "Psyche '59" is that the actress in the role of the grandmother seems too young for the part.

Interesting to consider that with the notable exception of Jack Clayton's 'The Pumpkin Eater', the most incisive depictions of middle-class, Anglo-Saxon angst have been filmed by an American. Of course both Joseph Losey and Jack Clayton were blessed to have the genius of Harold Pinter whose main interest lay in what is written between the lines.

Not to be overlooked however is this portrait of neuroses among the well-to-do, adapted by Julian Halévy from a French novel and directed by Stanley Kubrick acolyte Alexander Singer.

Halévy's taut script, Walter Lassally's superlative camerawork, Kenneth V. Jones' dissonant score and a quintet of strong performances make for a stylish, visually textured and sexually charged psychodrama which for its time was audacious.

The central character is blind and it is what she cannot see that is central to the film. She is played by Patricia Neal and even by her standards her nuanced performance is truly exceptional. This courageous artiste was shortly to fight her own personal battles. As her husband the charismatic Curt Juergens is here at the peak of his 'international phase' before he slowly moved down the cast list and began going through the motions. His character has immense charm but a decidedly dark side and his advice to lovelorn Ian Bannen on how to handle a woman will have many females foaming at the mouth and a few no doubt licking their lips. This decade was a particularly good one for Samantha Eggar and here she excels as a minx whose strong sexuality is more of a curse than a blessing. Unexpected levity is supplied by Beatrix Lehmann as a horoscope-reading matriarch.

This fascinating curio is certainly a step up from his earlier 'A cold wind in August', but Mr. Singer's subsequent output was far more 'conventional' and it is probably kinder to pass over in silence his spaghetti western with Lee van Cleef. His talents were later employed on the small screen.

Strange little film this. Even though the ending was fairly predictable, I ended up enjoying it far more than I had for the first part and might even enjoy it more on a second viewing. The story has interest, being based upon a Frenchwoman's novel of envy and desire and Samantha Eggar is fantastic, but although Curt Jurgens does the best he can there is either some serious miscasting here or the fledgling director Alexander Singer was not up to getting exactly what was required from hiss cast. The cinematography is clear, adventurous and exciting but even this cannot help lift this at the start. For far too long this is tortured and tentative as if not really wanting to get into the story and before long we feel the Jurgens character unconvincing as a philanderer, his wife too old and decrepit and the friend played by Ian Bannen completely peripheral. Certainly Eggar's appearance stirs things up but we are so bored by now it takes us time to reconnect. Once things click, however, we can forget the seemingly poor casting and follow the camera, but it is such a poor start that coupled with a predictable ending we are left feeling that we almost watched a great film.

I am amazed at these comments. I love Pat Neal, which is why I recorded this film, but I could not even get through it. The dialogue is cringe worthy, and the camera work, which I assume is meant to be artistic, is obnoxious. PN is great as usual, but all the characters around her seem like they are in a different movie. Sam Eggar has never impressed me with her acting ability and her super bitch femme fatale persona fell flat. Eric was wooden and the character was uninteresting; it is hard to imagine any woman would find him irresistible... The whole "feel" of the film made me wince. It reminded me of those bad movies from the fifties that tried so hard to be hip, and came out cheesy.

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!"

I am admittedly biased after seeing her in "The Subject Was Roses", an incredible achievement by Patricia Neal. That being said, this film "Psyche 59" deals with Neal and her seemingly caring husband Curd Jurgens (always believable as middle-aged man, malcontent).

The story starts with Neal in her comfortable London town home, where she is blind due to a tragic accident five years earlier. Her sister Robin (Samantha Eggar) comes to stay with her, which for some reason annoys Jergens. We see the reason clearly as the film unwraps, Eggar's personality as she flirts with her sister's husband. It is rather hard to believe the storyline here that Robin (Eggar) is 17 in this film, as she looks to be about 30 in real life, and manner.

If you can suspend the disbelief a bit (Eggar becomes shrill and annoying at the end, attempting to gain attention from Curt Jurgens).

They stay at the grandmother's country estate for a beach vacation, and the grandmother is , as another reviewer mentioned, rather an extraneous character and its puzzling as to why she has been included in the film, even.

Overall though while the story moves slowly at some points, keep watching for Patricia Neal. She saves the storyline and makes the film well worth your time. Recommended.

This is one of the most boring pretentious films I have seen in a long time.It is the sort of film that would drive away what little audience was left in cinemas in 1964.The title gives you a big clue.Why use such a silly title which is more likely to dissuade people from bothering to go and see it.This film should have been made as a TV play.By the way Samantha Egger, who was 25 at the time was trying and failing to be believable as a 17year old teenager

Patricia Neal is a blind married woman, who's a victim of hysterical blindness, a term for blindness that is caused by psychological reasons, instead of anything really wrong with the eyes. It seems she was traumatized by something and refused to see things the way they really were. By way of how she relates to sister Samantha Eggar and husband Curt Jurgens, we enter her world. I read one review of this movie that called it turgid. I was never sure what turgid meant. And. sometimes the dictionary only tells you a synonym type of definition, with not enough of an explanation. But if turgid means to tell a story with exaggeration instead of subtlety. Then, I would agree to an extent, but I think this type of film, the story itself, the mood and setting, and its way of telling the story all go well together, up to a point. Things certainly get worse, before they get better. But I liked Ms. Neal's performance (as usual) and I particularly liked the ending, instead of getting a startling and shocking climax which the film feels like it's heading for. It may not be much on the whole, but I would watch this over and the family dynamic and dysfunction only adds to its appeal as a curiosity piece for the Patricia Neal fans.

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.