Just what I expected

It's no definitive masterpiece but it's damn close.

Highly Overrated But Still Good

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Two fabulous actresses are absolutely wasted in this dreadful sex melodrama that was probably too forgettable to end up on critic's worst list. Patricia Neal tries her best to add class into this tasteless combination of sisterly rivalry and smut that I label "A Patch of Blue Movies". Patricia is a blind woman trying to remember what lead her to become blind, unaware that her husband (Curt Bergens) is trying to seduce her much younger sister (Samantha Eggar) who taunts him while Neal blindly sits by, unaware at first. But the blind have great insight, one thing that the film did get right, and if you haven't nodded off by the time Neal figures this out, then you might go into shock that something with thought behind it just happened.This is painful to get through, a combination of its trashiness and abuse to Neal's character. From her husband, sister, harridan mother in law. They are all slime. Films that utilize sex to move the plot forward or develop one are fine, but this one seems to be getting off on its perversion. I admire Neal for taking on bold roles, but this one makes me winder what she saw when she read the script.

I don't remember when I first saw this film – possibly around 1973 or 4 when probably shown late on a Friday night – I'm sure it was shown more than once – after that it disappeared from our screens and, to the best of my knowledge, has never been shown on UK television since – this rarity value ensured its legendary status, at least in my own mind if not the annals of film history. Patricia Neal plays Alison Crawford, a woman who has convinced herself she's blind – a blindness not only psychosomatic but also metaphorical as she no doubt wishes she was blind to her husband Eric's (Curt Jurgens) adulterous ambitions towards her younger sister Robin (Samantha Eggar) who is engaged to Paul (Ian Bannen). The story revolves around the psychological power play between Jurgens and Bannen and the relationships between these four main characters. Part of the drama is meant to occur in France – but when a taxi is summoned a Vauxhall Cresta PA in right hand drive on British number plates turns up. Better viewing then for car enthusiasts than seekers of realism. Of the actors and the acting, Patricia Neal never slipped below best form, and she makes a striking appearance here looking like a corpse in Ray-Bans. Samantha Eggar is nowhere near as good as she is in the following year's Return From The Ashes, but still not bad in an unsympathetic and shallow role. Ian Bannen is marvellous – witness him in The Hill (also 1964) and The Offence (1972) – you always know he's going to come off second best, but he does a grand job of getting there. Curt Jurgens is in pre comedy-high-ranking Nazi officer mode that he would perfect in time for Soft Beds, Hard Battles (1974) The background music can be intrusive at times: almost as if a small string section had been sat down in front of a tape recorder, had the film rolled for them and told to play whatever seemed appropriate. At one point they all stop playing, as though they realize something serious or dramatic is about to happen. It reminds me a bit of that silly plink plonk background music in Desperate Housewives that you only notice when it stops – the difference is DH is meant to be funny whereas '59 is meant to be serious – or is it? This film has now been released on region 1 disc in America, but if your DVD player won't play region 1 discs I can supply a superb quality region free disc – but without any artwork. Contact me by Email at [email protected] or text on 07949 792498.

I am amazed at these comments. I love Pat Neal, which is why I recorded this film, but I could not even get through it. The dialogue is cringe worthy, and the camera work, which I assume is meant to be artistic, is obnoxious. PN is great as usual, but all the characters around her seem like they are in a different movie. Sam Eggar has never impressed me with her acting ability and her super bitch femme fatale persona fell flat. Eric was wooden and the character was uninteresting; it is hard to imagine any woman would find him irresistible... The whole "feel" of the film made me wince. It reminded me of those bad movies from the fifties that tried so hard to be hip, and came out cheesy.

I only found two other comments about this movie. How strange for such a gifted actress as Ms. Neal was, even before coming to Hollywood.I enjoyed watching Ms. Neal, but the two comemnts I read pretty-much says it all - lust between "Robin" (Samantha Eggar, the younger sister) and "Alison Crawford's" (Patricia Neal) hubby (Kurt Jurgens, he of the rugged handsomeness in his earlier days). All the stern looks between "Robin" and "Eric" don't fool anyone- "Robin" is spitefully tempting to seduce "Eric", who pretends he hates her.Poor "Alison", blind from a fall down the stairs, knows there is some heat someplace, but can't remember it - nor why she's blind. She's been told by physicians her eyes are perfect, but her brain won't let her "see". Add to this intrigue, handsome "Paul" (Ian Bannen) who is in love with and wants to marry "Robin", who uses him for her sadistic desires, and the playing gets uninterestingly rough. We all know that "Alison" is going to remember the crisis she can't "see" - Granny (somebody !) knows the whole story, and tells "Alison" "you were always greedy and took what you wanted". Guess what is was ? You're right - she "took" "Eric" and eventually "sees" he and "Robin" in a tight, romantic grip. End of story, except "Alison" smiles off into the sunlight, knowing she can finally "see" her children and everything will be o.k. without "Eric".As I write, without Ms. Neal, dud !!! The film is so old, younger people wouldn't even know-of too many of these actors/actresses.More interesting, I viewed this film on TCM, which showed a live interview with Ms. Neal afterward (I adored for her candidness). She had a good acting/film-career, but much tragedy in her private life - two debilitating strokes and an impossible romance with Gary Cooper, deaths and divorces, etc. Hardly able to conduct a normal life after her strokes, she made a courageous recovery and went-on in her career.The problem for release-dates of films is, you never know just when they were shot.......we now know that films can be shot much earlier than they were released, sitting "in the can" for years before some producer gets the balls to back them. Therefore, just enjoy Ms. Neal's acting and get over the truly "B" rating for this film. Director Alexander Singer didn't really direct: just gave-out the script and let the actors/actresses go-at-it. Julian (Halevy) Zimet wrote the script. Good for them - I recommend "Psyche 59" for a quiet evening, if you don't want to sleep on explosions and blood.........