David and Lisa (1962)

A poignant and moving story about two emotionally disturbed teenagers who fall in love in an institution. Interactive Menus, Filmographies & awards, Scene Access, Production Credits

Overlooked

One of the earliest independent film successes in America, both in terms of box office and critical acclaim at international film festivals (including Oscar nominations for direction and screenplay), was director Frank Perry's issue oriented David And Lisa, produced by Paul M. Heller (My Left Foot), which was the first starring vehicle for two young actors of great potential whose careers eventually fizzled: Keir Dullea, who would reach his career apogee in Stanley Kubrick's 1968 masterpiece, 2001: A Space Odyssey, and Janet Margolin, who a year later would star as Woody Allen's wife in his directorial debut, Take The Money And Run. These days, Perry is most well known for his unwitting camp classic Mommie Dearest. But, back at the start of his career, Perry was what might be termed a social realist filmmaker who made several other films in that vein with his then wife, Eleanor Perry, who wrote the film's screenplay, adapted from the book, David And Lisa, by Dr. Theodore Isaac Rubin.
While there have been any number of films dealing with mental illness and institutions (Harvey; John Cassavetes' A Child Is Waiting; One Flew Over The Cuckoo's Nest; Girl, Interrupted, to name the most memorable) few have been as well wrought as this- from the screenplay (remarkable in its prescience and sensitivity, given its year of release), to the acting, to the political commentary, to the 35 millimeter black and white cinematography, by Leonard Hirschfield, which renders many of the shots as sort of moving Ansel Adams photographs of cityscapes.... While Lisa clearly is the more disturbed of the two protagoists, neither youth would, today, be institutionalized, although they would likely be overmedicated since preschool, and given an assortment of irresponsible diagnoses, in this age of made up alphabet soup armchair maladies of autism for kids who are merely a little slow, or ADD (or ADHD) for kids who are a little hyperactive. David would be diagnosed as having Obsessive Compulsive Disorder (OCD), while Lisa seems to be suffering from some sort of Post-Traumatic Stress Disorder (PTSD). Her subtly lascivious and sexual touching of the statues in the museum, which echoes a brief scene of her fondling her own breast (albeit covered) after she realizes her attraction to David, clearly suggest sexual abuse, not true schizophrenia, nor anything worse. Thus, their reunion at film's end does not really suggest that love can conquer mental illness, but that it can help alleviate some of the problems that teenagers have faced since time immemorial, and which adults have often misconstrued. And, we have no reason to believe that David and Lisa will be released from the school anytime soon. Their admissions of love, without directly stating it, simply suggest that they have gotten over the worst in their lives, and can continue with their full recovery.
Reputedly, the film was shot for about $185,000, but made over a million dollars in rentals after its 1999 release, by Fox Lorber, on VHS and DVD. Unfortunately, the DVD is rather standard. The only `extras' are some written filmographies of the three major characters, and director Perry. This film was also remade in 1998, by Oprah Winfrey, as a mawkish telefilm starring Sidney Poitier as the psychiatrist, and the execrable Lukas Haas as David. The original is better, and soap opera fans should note that Karen Lynn Gorney (then only fifteen), the original bad girl Tara on All My Children, and later to star in Saturday Night Fever, as Stephanie Mangano, plays the small role of Josette, another student at the school.
All in all, this is a very good film, and one that without the advent of mass market DVDs would likely have had its negatives wither away in some vault. Instead, it can be seen not only as an important American film, historically, but one that entertains even as it enlightens, that rarest of artistic achievements.
September 10, 2008

1962 Poignant Classic and Frank Perry's Best

David and Lisa, the film they used to show on the late late show in the '70s, at least on New York TV, remains a moving timeless classic and features outstanding performances by Keir Dullea as David, Janet Margolin as Lisa, and Howard Da Silva as Dr. Alan Swinford. Based on a novel by Psychologist Theodore Isaac Rubin it follows David as he enters a school for disturbed teens.
The filmaking is done in the European new wave black-and-white cinematic style of the time (though it's American).
Dr. Swinford uses a humanistic approach, really the opposite of what mainstream psychiatry has become. For him the solution is to open up one's feelings as opposed to making one oblivious with psychotropic drugs as is the norm today.
Anyway we find that David is very intelligent though he has some severe phobias: touch, death, etc. He meets Lisa, someone with multiple personality disorder her alter-ego called Muriel. The film turns into a love story between the two as they in effect end up curing each other. Through it all the sixties feel shines through as well as the acting, directing, writing (Eleanor Perry), and cinematography talents. Da Silva does a great job, and a great comeback role from the blacklisting period (due to the fascistic Robert Taylor). But again a rare excellence is attained by Dullea who went on to 2001 fame, and Janet Margolin. Shot in Philadelphia the final scene was done at the Art Museum. If I ever visit there it would be as a tribute to this film (not Rocky).
So if you're into great '60s cinema check this (one of my faves) out...but by any means necessary avoid the worthless Oprah version. September 9, 2007

quoth noel coward : "keir dullea -- gone tomorrow"

half a century ago, psychiatry was still considered new and exotic, and was prime grist for "meaningful" movies. this was one of the big hits of the genre, with a pre-2001 keir dullea and janet margolin as overage teenagers struggling to overcome their awful lives with the help of friendly doctor howard de silva (no longer a communist, but not yet benjamin franklin). it is a sincere and well-intentioned effort, tho nowadays strikes us more as a relic than relevant.
June 11, 2007

An Excellent Exploration of OCD and Schizophrenia

I watched the modern version with Sidney Poitier; not a bad little show, but there was just so much that Oprah had to leave out for TV.

This is the real thing and unadulterated pop psychology. It's amazing how back then, people knew a lot about OCD even if they didn't have the words we use to describe it. Keir Dullea is great playing David, sort of like the boy James Dean played in REBEL WITHOUT A CAUSE, with similar issues around his mom and dad, but without the sexual magnetism. He's good looking, Keir Dullea, but you can't really watch him for too long without thinking of Noel Coward's famous riposte when he was asked his opinion of Dullea's talent. "Keir Dullea," he quipped, "gone tomorrow."

Nevertheless, although he seems a little old to play the part, he is miles better than Lukas Haas who played David Clemens in the Oprah version. Haas seems to suffer from every other kind of mental disability EXCEPT for OCD. Poor boy isn't really over being terrified in Witness. Keir Dullea seems properly obsessive. He was also very good in the wonderful Otto Preminger thriller BUNNY LAKE IS MISSING, also available now in DVD, but similarly, without a commentary track! Why not? What is preventing us from hearing how Keir Dullea feels about his classic 60s films?

If you watch real hard you will see the lovely Karen Lynn Gorney in a small role. Karen was only 15 when she made this movie and her acting is first rate, an early warning of the massive talent that made her a fan favorite as Tara on ALL MY CHILDREN and then later, she made a million hearts flutter playing stylish Stephanie in the original SATURDAY NIGHT FEVER. July 15, 2005

Spare & poignant beauty

I hadn't seen this film in decades, and I wondered how well it would hold up now. I needn't have worried: it's still as lovely & touching as I remembered, with the same quiet power that moved me as a teenager. The performances are wonderful, with Keir Dullea's David struggling unsuccessfully to conceal his terror beneath a calm, self-assured, even arrogant facade; and Janet Margolin's glowing Lisa, her big dark eyes conveying fragility, yearning, loneliness & a glimmer of hope with astonishing depth. And the stark black & white photography allows us to glimpse their souls in a way color never could.

As for complaints that the story "blames the parents," please note that Dr. Swinford (a warm & compassionate Howard DaSilva) explains to David that one day he'll understand that his parents also had parents, with their own fears, doubts & unconscious drives. The film doesn't "blame the parents," it merely points out that each person bears the psychological weight & demands of many generations, often unconsciously. This remains as true today as it was then. Psychological healing isn't about "blame," but about recognizing the source of our inner wounds & coming to terms with them within ourselves. Whatever the cause of those wounds, once we're aware of them, the responsibility of facing them is ours alone.

And has psychology learned much more in the 40 years since this film was made? Of course! But that doesn't invalidate the film, both as an expression of a specific time & place, and as a metaphor for healing. No, it's not saying that love & compassion will magically overcome & solve all problems; but it is saying that they're absolutely essential for any hopes of creating a whole & meaningful life. The understanding & tentative union that David & Lisa find together is a beginning, not an end. Who knows what the future will bring? All they (and we) have is this moment, now, reaching out to one another in an often dark & frightening world. And that's a message which is never dated. Most highly recommended! July 12, 2005

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