On settembre - 2 - 2011
Creating a movie on psychoanalysis must not have been easy for David Cronenberg, the top director of the third day of Venice Film Festival 2011.
In his “A Dangerous Method” (featuring Michael Fassbender, Viggo Mortensen, Keira Knightley and Vincent Cassel, based on Christopher Hampton’s script and with production by Jeremy Thomas), the Director explores Zurich and Wien as locations of an hot story about discovering minds, science, intellect and sexuality, recreating the relationship between the problematic and beauty Sabina Spielrein between the two headmasters of new-born psychoanalysis, the young Carl Jung and his guru Sigmund Freud.
Sex, ambition, power, deceptions seems to prepare to the moment of the trio’s meetings and separations, changing forever the flow of modern thoughts.
With Viggo-Michael-Vincent-Keira’s talent to frame a little piece of story in today’s cinema.
We’ve met Cronenberg, Mortensen and Fassbender for a short interview, with a strange combinations of puppets and history…
David Cronenberg: “First of all I want to spot a light an a strange thing: this is the 68th edition of the Venice Festival, and I’m 68, also born on March 15th, the ides of March, which is the title of the opening movie of this festival. Isn’t this curious? May I consider myself lucky? Seriously, the movie as you know is based on the relationship between Sabina, Jung and Freud. I felt in love with Christopher Hampton play for theatre, “The Taking Cure”, and I thought it’d be great to make a movie about.
Of course I had, and all my cast & crew too, to study a lot, from psychoanalysis to locations, trying to be the more precise I could from the look to the thoughts the protagonists should have at these times.
There is a huge epistolary story at the bases, because their post effectively worked (not like today’s one!) and Keira’s character was so interesting and not so known in Jung-Freud’s story”.
Viggo Mortensen: “I have to add that Christopher Hampton had a lot of stuff that had inspired himself in writing his play, so we’ve done an incredible dip into that story. David also wanted us not to be academic in acting, so being the more natural we could in working has been an important part of our work for the movie. They all were common people, and like today stars, mostly over-estimated by books and stories written after them. What they were, after work, was their real personality. For example I am a funny man, despite the roles Mr Cronenberg has always given to me. That’s why I’m playing with this strange puppet a fan has given to me” (playing with his movie-partner, Michael Fassbender, despite Cronenberg’s serious expression).
Michael Fassbender: “About me it has been a huge work. I was really terrorized by these two men, so clever and charming.”
DC: “My guys are always so funny, you see. I think this has been the perfect mixture for the creating of my movie: fun and work. Of course I’ve always been the serious one!
Back to reality, I can also say that this is a costume-drama, and not too many actors are able to transform themselves in that kind of cinema. Keira is an expert in that: from “Pride and Prejudice” to the brave new announced “Anna Karenina”, she’s so perfect in putting herself in another historic period’s mood, from movements to thoughts. Michael, Viggo and Vincent too, of course.
It’s been a challenge also because of it, in not thinking with technologic influences of today, but considering each of the story’s characters as they might have done in life.
I have also to confess that I’ve called my actors to make them conscious about psychoanalysis: you can see now how they’re mature and brave, more conscious about their own lives, able to wash their clothes and to do shopping…”
(pointing at his actors laughing and joking)
MF: “So, this is Mr Cronenberg attitude in working: philosophizing on everything! Lessons of life!”
by Ilaria Rebecchi
Related Images:
