. His barbs are delivered in a mild tone and there’s an amused look in his eye, but these sweeteners do nothing to blunt his disdain.
He’s cast as Sigmund Freud in a speculative scenario that takes its cue from the fact that Freud had a meeting with a prominent Oxford don shortly before his death in 1939. The screenwriter, Mark St Germain – here adapting his off-Broadway hit of the same title – suggests that the unidentified academic was C.S.
What unfolds from this point is a debate over whether God exists, which sounds dry and tendentious, but St Germain and director Matt Brown artfully open up the argument to take in episodes from the two men’s lives. Anna Freud also makes an appearance, and we’re treated to glimpses of her burgeoning career as a young psychologist forced to put up with the condescension of her male colleagues. Her personal life is no less stormy. She’s still dominated by her father, who disapproves of her love affair with Dorothy Burlingham , who’s been undergoing analysis with Freud.) has always been one of the most stitched-up of actors.
To add to the pressure, Freud, who is in exile in London after fleeing Nazi persecution in Vienna, is in extreme pain from the cancer that is about to end his life, and Neville Chamberlain has just declared that England is at war with Germany. What’s more, the effect is instant. As the two men talk, they’re interrupted by an air raid alert that plunges Lewis back into the terrors he experienced as a teenage soldier in the trenches of World War I.
Source: Entertainment Trends (entertainmenttrends.net)
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