The 10 Best Movies Influenced by Sigmund Freud
“[…]But it all went down the drain with Freud and Darwin. We were and still are lost people.”
– Ray Bradbury, The Martian Chronicles.
Humans regularly pass through life without questioning the origins of small actions that compose us, that have been in us and ignored for a long time. Humans usually take for granted what inhabits us beneath our obvious physical biology, not because we are careless, or “unhumanised” (which seems as a grammar catastrophe), but because it is written all over ourselves.
As humans, in order to survive, we need to classify things, assign levels of importance to what surrounds us. After all those years of evolution, wanting and waiting to be “civilized”, we’ve kept a prevalent archaic heritage which guided us since the very beginning: the need of/for feeling in control.
1. A Clockwork Orange (1971, Stanley Kubrick) & 2. Black Swan (2006, Darren Aronofsky)
Behavioral studies have been conducted on a variety of subjects and species. From human-animal behavior to Ethology, the hypotheses of what, when, and how our conduct begins to forge are somehow familiar to us; thus, we constantly search empiric explanations, and often find ourselves in the same corners with the same questions clamoring for different answers.
A Clockwork Orange may be the clearest example in movies of human conduct and behavior; of what happens when one is trained and indoctrinated from the inside out against or in favor of our will. The film shows what we are capable of when that sense of control is at our service, or taken away from us. The protagonist –and antagonist– Alex DeLarge is a textbook example.
With a well-known tendency for the macabre (on his reading selections), Stanley Kubrick ultimately is associated with gruesome fears. On the other hand, Darren Aronofsky shows in his works what fear and desire can cause on an individual.
Both Kubrick’s and Aronofsky’s films revolve around heroes –or antiheroes– which most of the time have little-to-no mental stability, giving each of their films a tension that is palpable from the beginning. By adding in a misleading understanding of what is going on, both directors typically have us glued to our seats, staring at the final credits in shock.
Darren Aronofsky’s Black Swan tells the story of a sweet, already-grown-up ballet princess (Nina Sayers) who lives at home with her mother, Erica; Kubrick’s A Clockwork Orange shows us a youngster (Alex DeLarge), who leads a street gang, with an incredible aggressiveness but also great intelligence and “manners”.
At first glance, we can immediately see in Black Swan the Greek myth’s characters of Clytemnestra, Electra, and The Women of Trachis (as done by Sophocles), giving us our first Freudian hints; an absent father, a controlling and overprotecting mother who embellishes her daughter’s adulthood with fantasies while minimizing her character, and her insecure and fragile child who silently resents her attentions. This sneaky war between them and the rhythm of music feeds Nina’s Black Swan persona, For Alex DeLarge, it is the same… more or less.
Nina and Alex seem different and distanced one to another, but they have in common several things; control and desire thrive beneath both protagonists, and classical music is their way for controlling and repressing their true desires and inner selves. It is through Tchaikovsky that Nina finally lets herself go, while Alex DeLarge uses Beethoven (and several artistic references) to purge what he deemed necessary to be purged; both share the similar self-destructive drive which –knowingly or not– communicates to the outside world strictly by –and with, and for– art.
And art, indeed, has been our way to express what our souls need to say; it’s a great communication tool. What makes us “different” among our fellow fauna, is our ability to voice what in nature is voiceless; to create words which serve us, among other things. To state, declare, argue, and ultimately, to import from our mind’s ideas and emotions.
Linguists and psychologists can agree that, without speech (in any way or form) our evolution could be perceived as senseless. Our throats evolved to be controlled, our mouths to articulate, and our brains to create that first syntagma that by any means necessary found its way to be interpreted by whoever we wish, because our will is, by far, our greatest tool –and our greatest flaw– for communication.
3. Where The Wild Things Are (2009, Spike Jonze) & 4. The Science of Sleep (2006, Michel Gondry) & 5. Eternal Sunshine of The Spotless Mind (2004, Michel Gondry)
From childhood we are taught that dreams are a collage of complicated images and symbols, composed by a series of ideas that somehow are related to our experiences, but that, at the end, we are told are mere fantasies. Our first approach to that field is then influenced by the never-ending speech our parents recited: “Dreams aren’t important, nor real”. So, time passed, and all those dream-dilemmas were boxed, kept outside our recent memories, and substituted by brand new definitions of what compose them.
It is, indeed, in the Realm of Morpheus where our minds speak to us in the most peculiar ways, giving us signs and maps about who we really are, and what we really feel. Where The Wild Things Are, The Science of Sleep and Eternal Sunshine of The Spotless Mind show us that indeed, in some place around our heads lies eternally a bunch of unconscious imagery waiting to be unlocked, to be freed.
In these three films, the protagonists (Joel in Eternal Sunshine; Max in Where the Wild Things are; and Stéphane, in The Science of Sleep) find themselves exploring a surreal realm, where what was conceived as real no longer seems to be, or doesn’t matter anyways. Our heroes are, each one in different levels, discovering what is hidden in their minds. The role of that inner child, which symbolizes curiosity, is what moves the plot in the films forward.
What once was forgotten, now, for each of them, reemerges, and as an old wine gets stronger than in its first day, their unsolved issues come back with a bang! The process in which we learn –or need– to forget comes with adulthood (Joel), but still being adults, we can be tricked and seduced to feed our dreams and transform them into our reality (Stepháne).
Perhaps the already so mentioned inner child needs a certain balance between forgetting and dreaming, so we can deal with what life has for us (Max), or better yet, to what we have for life. Andy Warhol said once that everybody must have a fantasy, and he was right. To cope with the world, our brains somehow need to discharge all the content they have underneath, the in-between lines, what’s hidden from us, and as an overflowing dam, there are times where we need to let the water flow and cover it all.
In this sense, the notion of interpersonal communication provides psychologists a concise notion for interpreting human thoughts and behaviors, sending light to that –at times– dark corridor of our personalities.
One of the greatest enigmas –for Freud– were two particular mythological creatures; the son of Aphrodite, a winged, mischievous child called Cupid, who in his adult-form, was a beautiful man with butterfly wings, Eros; the other one is defined as “benevolent death by a tender touch”, Thanatos, the original Grim Reaper.
How Much of Freud is True?
Netflix has steadily become one of the biggest global streaming platforms, bringing to us culturally inclusive content. The streaming giant continues to invest in talents across regions and break language barriers to make its content both diverse and accessible. With its latest German-language Austrian thriller, ‘Freud’, it may just have found its next big thing because of the mass appeal of its central subject. Directed by Marvin Kren, the eight-part series centers around a young Sigmund Freud in 19th century Vienna. The twist, however, is that it provides a dark and sinister take on the acclaimed psychoanalyst.
‘Freud’ plays a young Sigmund Freud as he struggles with his medical career and cocaine addiction. He finds himself entangled in a gruesome murder case, and crosses paths with a mysterious psychic. The rest of the series explores how he comes up with his theories as he tries to solve the case.
Given the premise and the first look of the show, it will explore Freud’s psychoanalytic theories on interpretation of dreams, the unconscious mind, hysteria, among other things. Since the series centers around a real-life psychology icon from the 19th century, one can’t help but wonder how much of the series is based on real events. Did Sigmund Freud really solve murder cases? Here’s everything you need to know.
The True Story Behind ‘Freud’, Explained:
While Marvin Kren’s ‘Freud’ is in fact based on Sigmund Freud; the father of psychoanalysis, the series explores a fictional premise. In reality, Freud never really solved murders. But his theories definitely played crucial role in the development of criminology, and eventually even led to the psychoanalytic criminology.
It must also be noted that in the series, Freud, played by Robert Finster, is inspired by the real-life Freud who lived in Vienna and set up his practice there. It was in 1881 that Freud graduated from the University of Vienna as a qualified doctor. The series is set in 1886, which becomes interesting, as it was in 1885 that Freud completed his habilitation and started his career in neuropathology as a University lecturer.
Freud’s Early Psychoanalytic Practice
In 1886, Freud entered private practice in Vienna, and began using hypnosis in his work, which at the time was an unpopular approach. Interestingly, the series does explore this part of his life. In reality, he adopted the approach from his friend, Josef Breuer, with whom he collaborated to write Studies on Hysteria. The origins of Freud’s psychoanalytic work can be traced back to his collaborations with Breuer, and Breuer’s own experiences of treating his patient, particularly Anna O, who was diagnosed with hysteria.
Due to inconsistencies in the results, Freud eventually abandoned his hypnosis technique, and later went on to develop what he called “free association” – the technique that changed the way psychologists approached their patients. This too was a result of Anna O’s treatment who decided to talk to Breuer about whatever that came to her mind. Freud, later, developed on this as he psychoanalyzed the dreams and memories of his patients.
Freud’s Jewish Roots
Sigmund Freud was also born to a Jewish family in the Moravian town of Freiberg, in Austria. He later shifted to Vienna and lived there most of his life, until finally fleeing and seeking refuge in the UK in 1938, after the city was captured by Nazis. It is believed that he lived around 70 years in the city, but never felt at home because of the growing anti-Semitism over the years. Netflix’s ‘Freud’ explores this as well as it places Finster’s Sigmund Freud as an outsider struggling to find his place in the society especially with the prevalence of anti-Semitic sentiments.
Freud’s Cocaine Addiction
A slightly lesser known fact about Sigmund Freud is his cocaine addiction. It is believed that when Freud first started trying out cocaine in his youth, he believed it to be a miracle drug. In 1884 Freud wrote a paper titled “On Coca,” which he famously called ”a song of praise to this magical substance”. Interestingly, in Cocaine: An Unauthorized Biography , Dominic Streatfeild stated:
“If there is one person who can be held responsible for the emergence of cocaine as a recreational pharmaceutical, it was Freud.”
It was also in the 1880s that cocaine had started being used in medicine and was considered to cure depression amongst other things. Freud around the time began experimenting the drug on himself, and was amazed by both its physical and psychological effects. It was only later that he discovered the addiction caused by the drug. The eight-part Netflix series also explores Freud’s cocaine addiction. In an interview with Variety , Kren stated:
“…We do know that in his private life he was heavily into cocaine and that he was a very ambitious, highly intellectual Jewish doctor who did not come from a wealthy family. Anti-Semitism in Vienna was growing, and he was obsessed with the idea of the subconscious. Those are the important elements about him. We created this extraordinary young man who wants to find his place in society. “
Freud and Murders
While Sigmund Freud never solved murders in his real-life, Netflix’s ‘Freud’ isn’t the first fictional narrative that imagines the acclaimed psychoanalyst solving crime. Previously, a 2006 novel, The Interpretation of Murder (Jed Rubenfeld) explored Freud solving a murder case and was roughly based on his first and last visit to New York in 1909.
Then, in 2014, Frank Spotnitz (X-Files) was all set to write ‘Freud: The Secret Casebook’ in which Freud would use his theories to crack unsolved cases. However, the series never materialized. This makes Netflix’s ‘Freud’ the first fictional on-screen representation of Sigmund Freud as a crime solver.
Read More: Best Psychological Thrillers on Netflix
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Description by Wikipedia
Freud: The Secret Passion, also known as Freud, is a 1962 American biographical film drama based on the life of the Austrian psychoanalyst Sigmund Freud, directed by John Huston and starring Montgomery Clift as Freud. The original script was written by Jean-Paul Sartre, but Sartre withdrew his involvement in the film after disagreements with Huston, and his name was removed from the credits. The film was entered into the 13th Berlin International Film Festival.
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Tv/streaming, collections, chaz's journal, great movies, contributors, it's down to two people having respect for one another: matthew brown on freud's last session.
Sigmund Freud, the founder of psychoanalysis who revolutionized the way we think about trauma, humor, dreams, sexuality, and behavior, was raised Jewish and became an atheist. C.S. Lewis, author of the Narnia series and many books about Christian theology, was a non-believer who became a man of deep faith. In “Freud’s Last Session,” an imagined conversation between the two men in 1939, with Anthony Hopkins as Freud, knowing he was nearing death from cancer and that his country of birth had been annexed by Nazi Germany, and Matthew Goode as Lewis, after he embraced Christianity but before he wrote most of his books. In an interview, director and co-screenwriter Matthew Brown talked about learning Freud’s influence from his psychiatrist father, how the conversations in the film provide a model for today’s divided times, and what idea sustained him throughout the film.
Do you want to place yourself on the continuum between Freud and C.S. Lewis?
Do you mean like what my side would be on this? I should start by saying that my father is a psychiatrist, and he lives in Cambridge [Massachusetts]. I grew up with Freud in the house, I guess you'd say. But I mean, personally, I probably fall in between. There's stuff on both sides that I find fascinating. I thought it was important as the director with this film, in particular, to not take a side.
The question of science versus God is the question of this time, in a way. It's sad that it's become so polarized. There's a quote from Einstein that says science without religion is lame and religion without science is blind. That quote pretty much sums up where I fall with it all. I don't really see a huge dichotomy there.
I think you're quite right in saying that our time seems much more divided on that subject than when this movie takes place. And that makes it very timely. One of the things that really appealed to me about the movie is people today don't seem to want to have those conversations.
Maybe they do, and they feel afraid to. When I made this film, not dissimilar to the film I made before it, actually, “ The Man Who Knew Infinity ,” about mathematics. The audiences really embraced it. We underestimate their intellectual curiosity, maybe. Or Hollywood does to a degree. And I think it's probably why “ Oppenheimer ” did so well. I think the audience is thirsty for the conversation.
But in today's world, where the loudest voice dominates on social media and the divided news stations, you can just put a tag on your forehead who you listen to, and that's who you are. You won't listen to anything else.
One of the things that made the conversation so interesting in the film is they're not really trying to persuade each other. They're really trying to understand each other.
As a film director, I look at it differently than maybe a play director would have, in a sense. But to me, this needed to be working on the human level, no matter what. It's the debate's subtext for their own human, more dramatic journey.
Freud is a man who's acutely aware of his mortality. Anthony Hopkins as well, he's 86 years old. He's bringing that to bear on the role.
And I, growing up, had a lot of loss. So I also have been fascinated by thinking about mortality and those kinds of themes and the projects that I work on.
And there is Lewis with his PTSD. He lost his mother and then is sent off to not just a boarding school somewhere random, but to England, being Irish. He said it was worse than the trenches.
How did Freud's knowledge of his own impending death affect his interest in these issues?
I mean, from my point of view, at least with this film, tremendously. Hopkins was saying as well, the closer you get to that, the more you want to think about it and hear another point of view, just in case you could be convinced. This is a man who's days away from when he's going to die. And he's got the opportunity to bring in this person that he intellectually respected, that was a devout atheist who has suddenly made this change to Christianity. And he wants to know what he knows that he doesn't know.
That's the thing with Freud. My dad, said that Freud was a man who was intellectually curious. We think of him so rigidly now, but it's only because he died when he died. I mean, if he had lived another 50 years, he would have probably thrown out half of his theories and evolved. Which isn't to say that all of his theories are right, because he'd be the first person to say half of them were wrong and let me chuck them and try something else.
I noticed that in Anthony Hopkins' performance, very often he would make a statement and he would just have a little laugh afterward. What do you think that was about?
Well, two things. One is, I mean, his jokes are just terrible. One of the things that, I mean, Hopkins and I talked about a fair amount was that Freud did have a sense of humor, a strong sense of humor. There was an undertone of laughing at himself, really, laughing at just the preposterous nature of people who have such certain beliefs. I think part of that also was probably Hopkins as much as Freud. And I think the idea that nobody knows, so how can you be so certain?
And then there's an aspect of somebody that is just like, “This can't get any worse. I'm in so much pain, I'm dying.” It occurred to me what this film was in a way. It was like when I brought my dog in to say goodbye at the vet, and then I was so crushed, a 14-year-old dog, and then she jumps up and licks me, and I'm like, “Oh, we're going home.” But we’re not. And that's heartbreaking. That's what this is. It's a manic-ness that's in him that's showing up. When we were in the rehearsal period, we really wanted to use that manic energy to get,
like, he lies back down. “Do you want to lie down?” “Sure, I want to lie down. Boom, I'm right back up.” And he's laughing at himself, and he's laughing at the situation.
I know that Anthony Hopkins is a bit introverted, and Matthew Goode is not. What was it like as a director to work with both of them?
They're not much alike, but the one thing that they are alike is they have respect and kindness. They both really do. And when you're trying to do upwards of seven pages a day at a time, with an actor who is brilliant as he is, he's 86 years old, he is human, it's a challenge for him to be able to have the energy to do those super long days and all that memorization, and I think that the kindness and respect that Matthew had allowed us to have a place that we could try things and be creative and make this film possible.
I mean, Hopkins is arguably the greatest living actor, and Matthew is arguably one of the more underrated. His ability to listen and be present -- that's what we really talked about with this Lewis, and it shows up on the screen. You can see everything he's feeling inside when he's listening to all this. It's the gold dust for an actor, and he's got it.
I know in this culture, these days, people want it to devolve into take a side and bash the other one's head in, but that was not the story that we were trying to tell. So it was really important that you could feel that sort of burning anger at certain times underneath the facade that Matthew created, like when he's being attacked to a degree by somebody who's not well, and I felt that, and that made that scene work.
The film also devotes a lot of attention to Freud’s daughter, Anna. Why was that important?
That is something that evolved definitely from the play into the screenplay. You can't really understand Freud unless you understand his relationship with his daughters. I think that losing Sophie Freud to him crushed him. She was very, very charismatic, the beautiful apple of his eye. Anna was probably a much more complex situation and relationship for Freud. She went on to do some pretty amazing work. But, she had a big shadow over her. That was a a challenging relationship, so I felt like you had two therapy sessions going on.
You make it very clear that this takes place as WII is beginning.
I wanted to have Hitler's voice on the radio where you actually saw the subtitles for what he was saying. I know it was part of a credit sequence but it's I feel like we only ever hear Hitler's voice and he's yelling. You don't actually listen to the words that he was saying. They are shocking words that he's telling the world. I feel like the loudest voice in the room that goes on today we don't listen to what people say and often they do what they say they're going to do.
That is a parallel to today that people need to heed and then in terms of the the setting itself on the first day of World War II. We have two wars going on right now. They were looking at fascism, they were looking at communism, they were looking at a lot going on at that time that has direct parallels to today. When I started working on this it was probably about six years ago and I just thought, “I don't
know if I want to go into this.” This is similar territory to my last film and I'm thinking to myself, “I don't know,” but it had so much and we're in such a polarized world. People need to talk and listen.
You seem to be developing a genre of stories about extremely smart real-life people. Are you going to continue with more in that category?
No. Well, I don't know. I shouldn't say that. Out of “The Man Who Knew Infinity” I started a foundation called the Infinity Arts Foundation and we've been trying to support films like this and other films that deal with these hard-to-tell stories set in STEM and STEAM. So, we're going to do more movies like this but at the same time I'm also working on a film with Ridley Scott's company right now that's about a food taster in King Louis XVI's court that's all about love and food and revolution, so I think I have to have some fun for a minute.
What advice would you give an aspiring director?
You have to be really grounded. You have to ground yourself. When you're actually directing on set, I found that getting centered yourself is pretty critical to be able to really be helpful as a director.
And knowing what it is you're trying to tell and why it's important. Having a pretty clear vision on that, that can be very sustaining so that when you're getting a little lost in the weeds with something, you always have that mantra of, like, on “The Man Who Knew Infinity,” it was: the cost that comes waiting out of fear to connect for two people.
On this film, I had my own nugget, all the things we're just talking about, but it's down to two people having respect for one another.
My favorite thing about this movie is at the end of it, when I feel that they don't want to leave each other. How beautiful is that?
Nell Minow is the Contributing Editor at RogerEbert.com.
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Known For Acting
Known Credits 21
Gender Male
Birthday May 6, 1856
Day of Death September 23, 1939 (83 years old)
Place of Birth Freiberg, Austria
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Sigmund Freud
Sigmund Freud, born Sigismund Schlomo Freud, was an Austrian neurologist and the founder of psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst.
The Century of the Self
Sigmund Freud: Analysis of a Mind
The Psychology of Scary Movies
Sigmund Freud: A Jew Without God
A History of Antisemitism
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Freud: The Secret Passion, or simply Freud, is a 1962 American biographical drama film directed by John Huston and produced by Wolfgang Reinhardt.Based on the life of Austrian neurologist Sigmund Freud, it stars Montgomery Clift as Freud and Susannah York as his patient Cecily Koertner. Other cast members include Larry Parks, Susan Kohner, Eileen Herlie, Eric Portman, and David McCallum.
A Dangerous Method is a 2011 historical drama film directed by David Cronenberg.The film stars Keira Knightley, Viggo Mortensen, Michael Fassbender, Sarah Gadon, and Vincent Cassel.Its screenplay was adapted by writer Christopher Hampton from his 2002 stage play The Talking Cure, which was based on the 1993 non-fiction book by John Kerr, A Most Dangerous Method: The Story of Jung, Freud, and ...
One of the greatest enigmas -for Freud- were two particular mythological creatures; the son of Aphrodite, a winged, mischievous child called Cupid, who in his adult-form, was a beautiful man with butterfly wings, Eros; the other one is defined as "benevolent death by a tender touch", Thanatos, the original Grim Reaper.
A Dangerous Method: Directed by David Cronenberg. With Keira Knightley, Viggo Mortensen, Michael Fassbender, Vincent Cassel. A look at how the intense relationship between Carl Jung and Sigmund Freud gives birth to psychoanalysis.
A Dangerous Method. November 23, 2011. Seduced by the challenge of an impossible case, the driven Dr. Carl Jung takes the unbalanced yet beautiful Sabina Spielrein as his patient. Jung's weapon is the method of his master, the renowned Sigmund Freud. Both men fall under Sabina's spell.
Directed by Marvin Kren, the eight-part series centers around a young Sigmund Freud in 19th century Vienna. The twist, however, is that it provides a dark and sinister take on the acclaimed psychoanalyst. 'Freud' plays a young Sigmund Freud as he struggles with his medical career and cocaine addiction. He finds himself entangled in a ...
Freud: Directed by John Huston. With Montgomery Clift, Susannah York, Larry Parks, Susan Kohner. An examination of Czech-Austrian psychologist Sigmund Freud's career when he began to treat patients diagnosed with hysteria, using the radical technique of hypnosis.
Sigmund Freud (/ f r ɔɪ d / FROYD, [2] German: [ˈziːkmʊnt ˈfrɔʏt]; born Sigismund Schlomo Freud; 6 May 1856 - 23 September 1939) was an Austrian neurologist and the founder of psychoanalysis, a clinical method for evaluating and treating pathologies seen as originating from conflicts in the psyche, through dialogue between patient and psychoanalyst, [3] and the distinctive theory of ...
Sigmund Freud: Analysis of a Mind: With Sigmund Freud, Jack Perkins, Joe Aguayo, Harold P. Blum. The life and work of the great and influential psychiatrist, Sigmund Freud (1856-1939), is examined. Archive footage of Freud and a unique sound recording of his voice are included.
John Huston's biopic of Sigmund Freud (Montgomery Clift) follows the progress of the father of psychoanalytical psychiatry as he develops the notion that neurosis stems from sexual repression. By ...
Description by Wikipedia. Freud: The Secret Passion, also known as Freud, is a 1962 American biographical film drama based on the life of the Austrian psychoanalyst Sigmund Freud, directed by John Huston and starring Montgomery Clift as Freud. The original script was written by Jean-Paul Sartre, but Sartre withdrew his involvement in the film ...
Eager to make his name in 19th-century Vienna, a hungry young Sigmund Freud joins a psychic and an inspector to solve a string of bloody mysteries. Watch trailers & learn more.
In "Freud's Last Session," an imagined conversation between the two men in 1939, with Anthony Hopkins as Freud, knowing he was nearing death from cancer and that his country of birth had been annexed by Nazi Germany, and Matthew Goode as Lewis, after he embraced Christianity but before he wrote most of his books. In an interview, director ...
2022. Sigmund Freud: A Jew Without God as Self - Psychiatrist (archive footage) 2022. A History of Antisemitism ( 1 episode) as Self - Psychoanalyst (archive footage) 2013. The Psychology of Scary Movies as Self (archive footage) 2012. Starring Sigmund Freud as Self. 2011.
Freud's Last Session is a 2023 drama film starring Anthony Hopkins, Matthew Goode, Liv Lisa Fries, Jodi Balfour, Jeremy Northam, and Orla Brady.It is based on the stage play of the same name by Mark St. Germain, which itself is based upon the book The Question of God, by Armand Nicholi.The film was directed by Matthew Brown and written by St. Germain.
Sigmund Freud (born May 6, 1856, Freiberg, Moravia, Austrian Empire [now Příbor, Czech Republic]—died September 23, 1939, London, England) was an Austrian neurologist and the founder of psychoanalysis. (Read Sigmund Freud's 1926 Britannica essay on psychoanalysis.) Freud may justly be called the most influential intellectual legislator of ...
The is a DVD of an A&E Biography program about Freud from about ten years ago. But the age of the program is not at all a negative. This program does a good job of exposing the viewers to many aspects of the life of Sigmund Freud, who is probably one of the most misunderstood and misinterpreted of the early founders of Psychology.
Freud fled Austria to escape the Nazis in 1938 and died in England on September 23, 1939, at age 83 by suicide. He had requested a lethal dose of morphine from his doctor, following a long and ...
SIGMUND FREUD THE FATHER OF PSYCHOANALYSIS Full Rare Documentary
Freud is preparing for a talk in front of the Viennese medical community. He would like to report on his study trip, during which he visited Jean-Martin Charcot at the psychiatric clinic of the Hôpital Salpêtrière, and demonstrate the effectiveness of hypnosis on his housekeeper Lenore. Freud's presentation is negatively received by the Viennese medical community, including Theodor Meynert ...
Clement Freud. Actor: The Best House in London. Clement Freud was born on 24 April 1924 in Berlin, Germany. He was an actor and writer, known for The Best House in London (1969), Jackanory (1965) and The Mini-Mob (1967). He was married to Jill Freud. He died on 15 April 2009 in London, England, UK.
Jill Freud. Actress: Love Actually. Daughter of Henry Walter Flewett (1892-1970) and Winifred Johnson Flewett (1896-1967). Educated at Sacred Heart Convent School (R.C.), London and the Royal Academy of Dramatic Arts (1945-1947). After being evacuated with her school to Oxford during the war, became a volunteer housekeeper and hen-keeper in the household of C.S. Lewis, several times deferring ...
Emma Freud was born on 25 January 1962 in London, England, UK. She is an actress and producer, known for About Time (2013), The Boat That Rocked (2009) and Notting Hill (1999). Menu. Movies. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight.