By Brad Miner
As I walked through the wilderness of this world, I lighted on a certain place where was a Den, and I laid me down in that place to sleep: and, as I slept, I dreamed a dream.
Bunyan's Pilgrim's Progress (1678)
Freud's Last Session, a recent film directed by Matthew Brown, is based upon the play by Mark St. Germain who wrote the film's screenplay with Mr. Brown. Both film and play had their genesis in a book by Armand Nicholi: The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life. Doctor Nicholi, a psychiatrist, had for years taught a popular course at Harvard on just that subject, engaging students in the conflict between the secular and the religious, contrasting two powerful human emotions, despair and hope.
As the movie begins, we see images of antisemitism, and of Jews and other religious figures, including Jesus - from the Shroud of Turin. We enter the den in Freud's London house, which is filled with artifacts, including effigies of ancient deities, almost a museum, one might say, of totems and taboos.
Freud (played by Anthony Hopkins) has invited Lewis (Matthew Goode) to his London home to discuss religious belief, something Freud rejects as childish fantasy. Of course, the encounter devolves into a therapy session with the twist that each man takes a crack at finding chinks in the other's psycho-philosophical armor.
Freud escaped Vienna after the Anschluss, came to London in 1938, and as he and Lewis meet a year later, WWII air-raid sirens wail, and Lewis begins to suffer PTSD flashbacks from his service in WWI's trenches.
It's September 3, 1939, and Freud begins his "last" analysis session - last because he will soon die. Suffering the effects of buccal (oral) cancer, the result of years of cigar smoking, Freud died twenty days later, although not from cancer. At his request, a physician friend administered lethal injections of morphine.
Assisted suicide: despair unresolved.
Now, this extraordinary encounter between Freud and Lewis never took place. Or, I should say, there is no certainty that they were ever together - just a cryptic note in Freud's appointment book about a meeting with an "Oxford don" on that date. So, it could have been any one of the Inklings: Barfield, Cecil, Williams, Dyson, or Tolkien. It could have been a professor of biology or physics.
What had been a 2-person stage play becomes a film with more than 2-dozen roles - added presumably to give depth and color to the drama. I've not seen the play, but I suspect, mano a mano, it worked better. Others in the screen version seem there for extraneous reasons.
The single exception is Freud's daughter, Anna (German actress Liv Lisa Fries), and the added frisson she brings because she's in a sexual relationship with an American woman, Dorothy Burlingham (Jodi Balfour), as Anna was in real life.
Ironically, this upsets the man for whom sexuality seemed to ooze into every nook and cranny of psychoanalysis. Freud thought same-sex attraction among males was neurotic but among women likelier psychotic. Worse for him: he thought lesbianism arose from failed father-daughter relationships.
He even broke one of his own rules about conducting therapy by taking on his daughter as a patient. Her presence in the film would seem superfluous, were it not for the fact that it deepens her father's angst.
Sigmund Freud's despair is, of course, counterpointed by the Christian hope of C.S. Lewis, although there's no Christian triumphalism in the back-and-forth between the two. And it's fair to say that, in the end, the match is a draw. If anybody could have crushed Lewis's spirit, it might have been Freud. If anybody could have caused Freud to fall to his knees in prayer, it might have been Lewis. But both are unchanged, which is the film's main failing.
To the extent that Lewis might have made the case for God, it would have been by going back to basics - the proofs of Aquinas, for instance. But what's basic here...