SIGMUND FREUD: CONFLICT & CULTUREFilm Series - October 15, 1998 through January 14, 1999Interpreting services (American Sign Language, Contact Signing, Oral and/or Tactile) will be provided if requested five business days in advance of the event. Call 202-707-6362 TTY and voice to make a specific request. For other ADA accommodations please contact the ADA Coordinator at 202-707-7544 voice, or 202-707-9948 TTY. OCTOBERThursday, October 15 (6:00 p.m.) Freud (Universal, 1962). Director: John Huston.
Writers: Charles Kaufman, Wolfgang Reinhardt. Cast: Montgomery Clift,
Larry Parks, Susannah York, Eileen Herlie. (120 min., sd., b&w, 35mm;
LC Collection, courtesy Universal), preceded by John Huston’s film is a clear, well structured, though somewhat expurgated overview of Freud’s early theories and the resistance of his contemporaries to some of his ground breaking ideas, particularly regarding the existence of sexual impulses in infancy. Clift’s serious, respectful portrayal of Sigmund Freud avoids caricature and Susannah York artfully plays his attractive guinea pig, a fictional amalgam of several of Freud’s female patients. Jean-Paul Sartre contributed two early drafts of the screenplay, some of which even ends up on screen. Huston saw first hand how neurotic symptoms can be triggered by a traumatic event while making the documentary Let There Be Light (about WWII veterans recovering from what was then called "shell shock") and that understanding is clearly evident here.
Tuesday, October 20 (7:00 p.m.) Secrets of the Soul (Neumann Film/UFA, 1926). Director: G.W. Pabst. Writers: Colin Ross and Hans Neumann. Cast: Werner Krauss, Ruth Weyher, Pawel Pawlow, Jack Trevor. (95 min., si., b&w, 16mm; LC Collection). It has often been argued that psychoanalysis and expressionism have the same roots in the cultural explosion in central Europe at the end of the nineteenth century, and the works of Robert Wiene, Robert Siodmak, and Alfred Hitchcock (trained in Germany), are deeply influenced by the subjectivism that is central to both movements. How deeply this tradition runs in German film is shown in Secrets of the Soul. Pabst is usually considered as an upholder of a realistic tradition in German films, yet he puts into brilliant narrative form this story of the analysis of a man's neurosis. Pabst's film is still one the few real attempts to use cinema to explicate Freudian psychology honestly and intelligently without resorting the hokum usually found in later Hollywood films. The optical effects in the dream sequences, photographed by Guido Seeber and Kurt Oertel, and their use of Ernö Metzner's sets, are marvelous. Werner Krauss's portrayal of the protagonist Fellman is still fresh and sympathetic. For a wonderful contrast of German idealism (Freud) and Soviet materialism (Pavlov), compare this film to Pudhovkin's Mechanics of the Brain. Wednesday, October 21 (7:00 p.m.) King of Hearts (United Artists, 1966). Director:
Philippe de Broca. Writer: Daniel Boulanger. Cast: Alan Bates, Geneviève
Bujold, Jean-Claude Brialy, François Christophe. (102 min., sd.,
color, 35mm; LC Collection), preceded by Though it was a commercial failure and received mixed notices when it was released, King of Hearts has become a cult classic, playing revival theaters, the college circuit, and for years at a theater in Cambridge, MA. The antiwar sentiments certainly contribute to the enduring popularity of the film, but doubtless there are other reasons. Shot in Senlis, France and set in the latter part of World War I, the fleeing Germans in an attempt to slow their pursuers set a booby trap in the center of the village square -- triggered to explode when an armored knight on the church steeple clock strikes the midnight hour with his mace. The townspeople, hearing the news, flee, leaving behind the inmates of the local insane asylum. And so it goes... the inmates take over the asylum, though in this case it's the village. There follows an enchanting carnival of events -- marked by unreality, delusion, and exhibitionism acted out by charming lunatics. And finally, in the midst of the horror and carnage of war, we are helplessly drawn to those who seem to have consciously chosen their "vagrant lunacy." Thursday, October 22 (7:00 p.m.) Spellbound (Selznick Productions, 1945). Director: Alfred Hitchcock. Writer: Ben Hecht, based on the novel "The House of Dr. Edwardes" by Francis Beeding. Cast: Ingrid Bergman, Gregory Peck, Leo G. Carroll, John Emery, Michael Chekhov. (111 min., sd., b&w, 35mm; LC Collection). Although Hitchcock dealt with psychological themes in many of his films, Spellbound was the most overtly Freudian of his work. A psychiatrist at a mental hospital (Ingrid Bergman) falls in love with the newly-arrived director, only to discover that he is, in reality, a mental patient suffering from amnesia who has assumed the role of the director and who may have killed him. The doctor seeks to cure him by using dream analysis as she helps him elude the police. While not Hitchcock's best work, Spellbound does offer a stellar performance by Bergman, who is transformed by love from being rational and aloof to being a fully integrated person. The film is also worth seeing for the famous dream sequence by Salvador Dali, which depicted the dream world in a wholly unique way from previous films. Tuesday, October 27 (7:00 p.m.) New York Stories: Oedipus Wrecks (Warner Bros.,
1989). Director/Writer: Woody Allen. Cast: Woody Allen, Mae Questel,
Mia Farrow, Julie Kavner. (45 min., sd., color, 35mm; LC Collection,
courtesy Turner Entertainment), followed by Tonight's program features two radically different takes on the oedipal story, and a further indication of how central that narrative has become to our storytelling. In Oedipus Wrecks -- the only watchable installment of the New York Stories trilogy -- Woody Allen is literally haunted by Great Jewish Mother in the Sky Mae Questel. Broadly comic in the manner of his "earlier, funnier" films, this vignette is still deeply rooted in myth, as Woody can't shake the spectral mother until he falls in love with a woman just like her. Wednesday, October 28 (6:30 p.m.) Chinatown (Paramount, 1974). Director: Roman Polanski.
Writer: Robert Towne. Cast: Jack Nicholson, Faye Dunaway, John Huston,
John Hillerman. (131 min., sd., color, 35mm: LC Collection, courtesy
Paramount), preceded by Private eye Jake Gittes (Nicholson) is hired by recently widowed Evelyn Mulwray (Dunaway) to find out who murdered her husband, the former business partner of her father, the insatiable capitalist Noah Cross (Huston). As he is drawn into the mystery, Gittes gets further and further out of his depth, dogged by a past he is compelled to repeat. This is a Chandleresque variant of the Oedipus myth transplanted to 1930s Los Angeles. In a city blighted by drought, incest is punished by a bullet in the eye, prefigured by a broken tail light and a flaw in the iris. Robert Towne’s literate script investigating political and personal corruption is infused with Polanski’s keen attention to detail and fatalistic sense of the absurd. Chinatown is preceded by Mia and Roman, a short featurette shot during the making of Polanski’s first Hollywood film, Rosemary’s Baby. Thursday, October 29 (6:30 p.m.) Hamlet (Universal, 1948). Director: Laurence Olivier. Writer: Alan Dent, adapted from William Shakespeare. Cast: Laurence Olivier, Eileen Herlie, Basil Sydney, Jean Simmons. (153 min., sd., b&w, 35mm; LC Collection, courtesy Universal). Laurence Olivier’s assured adaption of Shakespeare’s tragedy of the Danish prince who is driven to avenge his father’s murder. The dead king and the usurper become positive and negative aspects of the father figure. Olivier amplifies the Oedipal nature of the troubled Dane’s predicament by dwelling on the carnal kisses which Hamlet exchanges with his mother, making the film a clear example of how Freud has influenced our reading of familiar texts. NOVEMBERTuesday, November 3 (7:00 p.m.) The Seventh Veil (Universal, 1945). Director: Compton
Bennett. Writers: Muriel and Sydney Box. Cast: James Mason, Ann Todd,
Herbert Lom, Hugh McDermott, Albert Lieven. (95 min., sd., b&w, 35mm;
LC Collection; courtesy Universal), preceded by A young woman is raised by a misogynistic, Svengali-like guardian (James Mason), who fashions her into a concert pianist. An accident which burns her hands leaves her suicidal, convinced that she will never play the piano again. Certain that her wounds are more psychological than physical, a psychiatrist uses hypnosis to help her discover her real feelings about the men in her life, including her guardian, which is the key to her being able to play music again. This British film contains several Freudian elements: psychoanalysis, unresolved oedipal conflicts, and the ongoing struggle between love and aggression. "The seventh veil" refers to the part of one's psyche that one does not show to anyone, except the psychoanalyst. In Taxi: Mr. Personalities, the late, lamented Andy Kaufman stars as garage mechanic Latka Gravas, who in this episode is afflicted with multiple personalities, including Arlo the cowboy, ultra-smooth Vic Ferrari, and -- most amusingly -- Alex Reiger, the character played by Judd Hirsch. Both Alexes seek the help of psychiatrist Barry Nelson, but Latka/Alex seems to have more personal insight than does the real version. Wednesday, November 4 (7:00 p.m.) Deluxe Annie (Select Films, 1918). Director: Roland
West. Writer: Paul West, based on the play by Edward Clark. Cast: Norma
Talmadge, Eugene O'Brien, Frank Mills, Edna Hunter. (79 min., si., b&w,
35mm; LC Collection), preceded by
Thursday, November 5 (7:00 p.m.) Eraserhead (Libra Films, 1978). Director/Writer:
David Lynch. Cast: John Nance, Charlotte Stewart, Allen Joseph. (90
min., sd., b&w, 16mm; LC Collection), preceded by
Tuesday, November 10 (7:00 p.m.) Freud Home Movies (ca. 90 min., si. and sd., b&w, 16mm and video; LC Collection). A selection of documentary footage of Freud and his contemporaries, including Sigmund Freud, His Family and Colleagues 1928-1929, The Eleventh Congress of the Psychoanalytic Association 1929 , Freud at Potzledorf, 1932 and Freud Home Movies 1937 - 1938. Thursday, November 12 (6:30 p.m.) Face to Face (Paramount, 1976). Director/Writer: Ingmar Bergman. Camera: Sven Nykvist. Cast: Liv Ullmann, Erland Josephson, Gunnar Björnstrand, Aino Taube-Henrikson. (136 min., sd., color, 35mm; LC Collection, courtesy Paramount). Swedish director Ingmar Bergman spent a significant portion of his career exploring psychoanalytic themes in a far more explicit manner than had hitherto been seen on the world screen. Beginning his career with such dramas of social realism as Summer with Monica, in the late 1950s he turned toward spiritual themes with such films as The Seventh Seal, before finally reaching a point of disillusionment in such pictures as Winter Light. Then, during the 1960s, he began an intensive examination of the world of the mind, treated in a simultaneously realistic and symbolic manner, as in Persona and Cries and Whispers. Bergman became internationally acclaimed for having created a new existential cinema of the mind, although since the 1980s his reputation has been in eclipse. Face to Face was originally filmed as a four-part Swedish television series of 50 min. segments, following the pattern of Bergman's previous Scenes From a Marriage. When it proved impossible to broadcast on American television, Bergman cut it into feature form for theatrical distribution. Psychiatrist Liv Ullmann spends her vacation away from her husband and daughter at the home of her grandparents, where, haunted by a chimera of an old woman, she suffers a breakdown and attempts suicide through a drug overdose. During her hallucinogenic recovery, she relives portions of her childhood and realizes that family disputes formed much of her rigid character, a recognition that allows her to begin her own recovery. Tuesday, November 17 (7:00 p.m.) The Cabinet of Dr. Caligari (Decla-Bioscop, 1919).
Director: Robert Weine. Writers: Carl Mayer and Hans Janowitz. Cast:
Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover. (69 min.,
si., b&w, 16mm; LC Collection), preceded by
Wednesday, November 18 (7:00 p.m.) Peeping Tom (Anglo-Amalgamated, 1960). Director: Michael Powell. Writer: Leo Marks. Cast: Carl Boehm, Moira Shearer, Anna Massey, Maxine Audley. (109 min., sd., color, 35mm; LC Collection). Peeping Tom critically examines the role of the artist and the inner demons that both torment him and which he tries to extend to others. The protagonist is a victim of child abuse, the object of his father's bizarre experiments to induce fear in his son through terrifying him in various ways, clinically recording the results on film. In turn, the son is compulsively repeating, in modified form, what was inflicted on him, through his work as a cameraman and fulfilling a scopophiliac obsession with photographing the gruesome. By night his obsessive compulsion is continued by impaling prostitutes with the spiked leg of his camera, filming their death and allowing them to simultaneously see it through a mirror. Through making the very instrument of filmmaking into a murder weapon, director Michael Powell speculates on the voyeuristic role of the filmmaker and its psychological effects on both himself and spectators. Seldom has a filmmaker so harshly examined the terrifying potential of his own art or the degree to which he is responsible for its consequences (Powell also plays the psychotic father). Although misunderstood upon its limited original release as a slasher film of virtually pornographic content, today Peeping Tom is regarded as a classic of referentiality and an exposé of the patriarchal gaze which forms the basis of narrative filmmaking. Thursday, November 19 (7:00 p.m.) Lilith (Columbia, 1964). Director/Writer: Robert Rossen, from the novel by J.R. Salamanca. Cast: Warren Beatty, Jean Seberg, Peter Fonda, Kim Hunter, Gene Hackman. (114 min., sd., b&w, 35mm; LC Collection, courtesy Columbia).
Tuesday, November 24 (7:00 p.m.) The Cobweb (MGM, 1955). Director: Vincente Minnelli. Writer: John Paxson, from the novel by William Gibson. Cast: Richard Widmark, Lauren Bacall, Charles Boyer, Lillian Gish, Gloria Grahame. (124 min., sd., color, 35mm; LC Collection, courtesy Turner Entertainment). By the mid-Fifties, Hollywood was beginning to portray the psychiatric profession in warmer, if not outright heroic, terms, and The Cobweb is an excellent example of this trend. Essentially Peyton Place in a sanitarium, the film deals less with the patients and more with the staff's personal problems. Widmark is the prototypical psychiatrist who can cure others, yet is distracted by a crumbling marriage, while Boyer is the washed-up analyst who masks his womanizing behind a fog of therapeutic jargon. In fact, it's rather difficult to distinguish inmate from staff for the first thirty minutes of the film, which is precisely the way director Minnelli intended. Please note that this print of The Cobweb is quite pink due to the deterioration of the original color film. DECEMBERTuesday, December 1 (7:00 p.m.) Blind Alley (Columbia, 1939). Director: Charles
Vidor. Writers: Philip MacDonald, Michael Blankfort, and Albert Duffy,
based on the play by James Warwick. Cast: Chester Morris, Ralph Bellamy,
Ann Dvorak, Joan Perry. (71 min., sd., b&w, 35mm; LC Collection, courtesy
Columbia), preceded by
Wednesday, December 2 (7:00 p.m.) Free Love (Universal, 1931). Director: Hobart Henley.
Writer: Edwin Knopf, from the play Half-Gods by Sidney Howard. Cast:
Genevieve Tobin, Conrad Nagel, Bertha Mann, Zasu Pitts. (70 min., sd.,
b&w, 35mm; LC Collection, courtesy Universal), preceded by Tonight we premiere a new print from our Motion Picture Preservation Lab -- Free Love, a comic melodrama of infidelity, drunkenness, bad parenting, and domestic violence. Not a walk in the park by any means, but we include it in this series for its introduction of a quack psychiatrist who tells an unhappy wife she is an "intuitive introvert" while her husband is an "infantile extrovert;" this prompts her to immediately pack up the kids and leave. He's a far cry from oracular Ralph Bellamy in Blind Alley, but indicative of the somewhat muddled image of the profession during the decade. At the same time, in light of some exceptionally boorish behavior from the aggrieved husband in the film, one can't help but wonder if maybe her instincts -- and his diagnosis -- was correct. Thursday, December 3 (6:30 p.m.) The Dark Mirror (Inter-John, 1946). Director: Robert
Siodmak. Writer: Nunnally Johnson, from a story by Vladimir Pozner.
Cast: Olivia de Havilland, Lew Ayres, Thomas Mitchell. (85 min., sd.,
b&w, 35mm; print courtesy of the National Film and Television Archive,
London), preceded by
Tuesday, December 8 (7:00 p.m.) The Innocents (20th Century-Fox, 1961). Director:
Jack Clayton. Writers: William Archibald, Truman Capote, from the play
by Archibald. Cast: Deborah Kerr, Megs Jenkins, Pamela Franklin, Michael
Redgrave. (99 min., sd., b&w, 35mm; LC Collection, courtesy 20th Century-Fox).
Wednesday, December 9 (7:00 p.m.) Experiment Perilous (RKO, 1944). Director: Jacques
Tourneur. Writer: Warren Duff, from the novel by Margaret Carpenter.
Cast: Hedy Lamarr, Paul Lukas, George Brent, Albert Dekker. (91 min.,
sd., b&w, 16mm; LC Collection, courtesy Turner Entertainment), preceded
by
Thursday, December 10 (7:00 p.m.) Pressure Point (United Artists, 1962). Director:
Hubert Cornfield. Writers: Hubert Cornfield and S. Lee Pogositin. Cast:
Sidney Poitier, Bobby Darin, Peter Falk. (91 min., sd., b&w, 35mm; LC
Collection, courtesy United Artists), preceded by Sidney Poitier stars as the movies' first African-American psychiatrist in Pressure Point, which perhaps marks the apogee of the "Golden Age" of psychiatric films, at least in its portrayal of the therapist whose unquestioned professionalism is matched only by his nobility as a human being. Poitier overcomes institutional and personal hostility to uncover the root of patient Bobby Darin's racism, yet bears the subsequent disapproval of his colleagues with grace. The film blazes no new trails in its depiction of racist attitudes (producer Stanley Kramer's Home of the Brave covered much the same ground in 1949), but it is very well acted and beautifully photographed by Ernest Haller. Tuesday, December 15 (7:00 p.m.) The Seven Per Cent Solution (Universal, 1976). Director: Herbert Ross. Writer: Nicholas Meyer. Cast: Nicol Williamson, Robert Duvall, Alan Arkin, Vanessa Redgrave, Laurence Olivier. (113 min., sd., color, 35mm; LC Collection, courtesy Universal). Since the death of Sir Arthur Conan Doyle, creator of Sherlock Holmes, writers have undertaken Holmesian pastiches at an exponentially increasing rate. Screenwriter Nicholas Meyer, the son of a psychoanalyst, began his own career as a filmmaker at age 9, making his own 8 mm movies. He had the unique idea of pairing fiction's most individualistic cocaine-addicted creation with the one man who might have been able to psychoanalyze such an unusual character, his contemporary Sigmund Freud. The 32 year-old Meyer received an Academy Award nomination for best screenplay from another medium for The Seven Per Cent Solution, basing it on his own best-selling novel which also inspired two sequels. In the story, a number of Holmes's eccentricities are revealed by Freud to have a basis in childhood trauma, but the beloved detective retains his magnetism through his continued unrivaled sleuthing ability. Not only did Meyer's popular original sequel launch him on an important filmmaking career which continues to this day, but it has influenced a whole school of literary pastiches, Holmesian and otherwise, matching fictional characters and real people in new fictional exploits. Wednesday, December 16 (7:00 p.m.) Alice (Condor-Hessisches, 1988). Director/Writer:
Jan Svankmajer. Animation: Bedrich Glaser. Cast: Kristyna Kohoutuva,
Camilla Power. (85 min., sd., color, 16mm; LC Collection), preceded
by
Thursday, December 17 (7:00 p.m.) Suddenly, Last Summer (Columbia, 1959). Director:
Joseph L. Mankiewicz. Writers: Gore Vidal and Tennessee Williams, based
on the play by Williams. Cast: Katharine Hepburn, Elizabeth Taylor,
Montgomery Clift, Mercedes McCambridge, Albert Dekker. (114 min., sd.,
b&w, 35mm; LC Collection, courtesy Columbia). Cannibalism, lobotomies, and the nature of God: who but Tennessee Williams could weave such a tale, creating two bravura female roles in the process, and all in one act? Suddenly, Last Summer began as a monologue -- Catherine's climactic description of her cousin's unusual demise -- called "And Tell Sad Stories of the Deaths of Queens." It was expanded into a one-act play and presented off-Broadway in 1958, along with the curtain-raiser "Something Unspoken," under the title "Garden District." Hortense Alden and Anne Meacham played Mrs. Venable and Catherine, respectively; in a tour the following year, Cathleen Nesbitt and Diana Barrymore assumed the roles. When Hollywood called, Gore Vidal was hired to expand the play into a feature-length script. To everyone's surprise, the film version, shot in England and released late in 1959, was not condemned by the Legion of Decency, even though Cousin Sebastian had been obviously gay (The Legion felt he got his desserts). Variety, however, called the film "a weirdo by any standard." The lobotomy -- cutting nerves in the brain in an attempt to cure mental illness -- was an experimental procedure in vogue from the mid-1930s until the mid-1950s. Williams' beloved sister Rose was lobotomized for schizophrenia, and spent the rest of her life in institutions. Williams supported her until his death in 1983, and left the bulk of his estate in trust for her. She died in 1996. JANUARYTuesday, January 5 (6:30 p.m.) Tender Is the Night (20th Century-Fox, 1962). Director: Henry King. Writer: Ivan Moffat, from the novel by F. Scott Fitzgerald. Cast: Jennifer Jones, Jason Robards, Joan Fontaine, Tom Ewell. (146 min., sd., color, 35mm; LC Collection, courtesy 20th Century-Fox).
Wednesday, January 6 (7:00 p.m.) Deep End (Paramount, 1970). Director: Jerzy Skolimowski.
Writers: Jerzy Skolimowski, Jerzy Gruza, and Boleslaw Sulik. Cast: Jane
Asher, John Moulder-Brown, Michael Volger, Diana Dors. (88 min., sd.,
color, 35mm; LC Collection, courtesy Paramount), preceded by
Thursday, January 7 (7:00 p.m.) The Shrike (Universal, 1955). Director: José
Ferrer. Writer: Ketti Frings, from the play by Joseph Kramm. Cast: José
Ferrer, June Allyson, Joy Page, Jacqueline de Wit. (88 min., sd., b&w,
35mm; LC Collection, courtesy Universal), preceded by
Tuesday, January 12 (7:00 p.m.) The Mark (20th Century-Fox, 1961). Director: Guy Green. Writers: Sidney Buchman, Stanley Mann. Cast: Stuart Whitman, Maria Schell, Rod Steiger. (127 min, sd., b&w, 16mm; LC Collection, courtesy 20th Century-Fox). Thoughtful, sober study of a recovering pedophile (Whitman) whose successes in his professional and personal life are seriously jeopardized when an opportunistic reporter reveals his criminal past. Steiger plays a sympathetic psychiatrist with boundless optimism and common sense. A compassionate plea for understanding of the challenges facing the mentally maladjusted, much needed in post Megan’s Law America. Wednesday, January 13 (7:00 p.m.) The President's Analyst (Paramount, 1967). Director/Writer: Theodore J. Flicker. Cast: James Coburn, Godfrey Cambridge, Severn Darden), Joan Delaney, Pat Harrington. (104 min., sd., color, 35mm; LC Collection, courtesy Paramount). The President's Analyst belongs to that time-honored form, the paranoia film in which nothing is as it seems, unless it seems that everything is a conspiracy. Like its hero, the film is of its time: mod haircuts, zoom lenses, Soviet spies and Hollywood hippies, even a strolling-elatedly-through-Manhattan-with-groovy-music-on-the-soundtrack sequence. But even though Ma Bell has been deregulated, The President's Analyst seems far from out-of-date. Viewers in 1998 even may get a chuckle from several obviously inadvertent allusions. Thursday, January 14 (7:00 p.m.) The Florentine Dagger (Warner Bros., 1935). Director:
Robert Florey. Writer: Brown Holme and Tom Reed, from the novel by Ben
Hecht. Cast: Margaret Lindsay, Donald Woods, C. Aubrey Smith. (70 min.,
sd., b&w, 35mm; LC Collection, courtesy Turner Entertainment), preceded
by Our Freud series concludes with a new print from the Library's Motion Picture Preservation Lab. The Florentine Dagger, although technically made after more stringent censorship resumed, belongs to the type of films known as "pre-code" and that would be later recognized as "pre-noir." Director Robert Florey was designated to helm the project only a week before shooting began, while the script by Tom Reed (who had already collaborated with Florey on Murders in the Rue Morgue [Universal, 1932]) was still being rewritten and substantially changed during photography, adding themes not present in the Ben Hecht novel but which deepened it considerably. Despite these conditions, The Florentine Dagger was completed in a mere 20 days, on a $135,000 budget, although it was not, properly speaking, a "B," but intended as an unusual, high-quality item. Operating on multiple levels, The Florentine Dagger delves past a surface mystery into a domain where the apparently dead past intrudes on the present, releasing ungovernable passions.
A bravura performance from Bea Arthur is featured in a wonderful episode from the Norman Lear sitcom Maude. Maude Findlay talks to an unseen (and unheard) therapist about her marriage, her father, and her intense self-doubt. The husband-as-father parallel might be a bit pat, but Arthur's serio-comic delivery more than compensates for the predictability of the script. Programs are subject to change. | |
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