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Lilith (1964)

AL | | Drama | 15 January 1965 (Italy)
A war veteran gets work at a mental institution where he meets the beautiful, but eccentric, Lilith.

Director:

Robert Rossen

Writers:

Robert Rossen (screenplay), J.R. Salamanca (novel)
Reviews
Nominated for 1 Golden Globe. See more awards »

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Cast

Cast overview:
Warren Beatty ... Vincent Bruce
Jean Seberg ... Lilith Arthur
Peter Fonda ... Stephen Evshevsky
Kim Hunter ... Dr. Bea Brice
Anne Meacham ... Mrs.Yvonne Meaghan
Jessica Walter ... Laura
Gene Hackman ... Norman
James Patterson ... Dr. Lavrier
Robert Reilly Robert Reilly ... Bob Clayfield
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Storyline

Lilith is a about a mysterious young woman in an elite sanitarium in Maryland, who seems to weave a magical spell all around her. A restless, but sincere young man with an equally obscure past is seemingly drawn into her web. As time passes, their relationship deepens and intensifies, and the differences between them begin to blur, leading to a shocking, but oddly logical conclusion. Written by Rhea Worrell <rworrel@ibm.net>

Plot Summary | Plot Synopsis

Taglines:

You will understand Lilith more than anyone! See more »

Genres:

Drama

Certificate:

AL | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

15 January 1965 (Italy) See more »

Also Known As:

Lilith - La dea dell'amore See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound Recording)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

While filming, Robert Rossen took time out to present the award for annual creative cinema sponsored by the Society of Cinematologists. The three winners were George Houston, Robert Shaye, the future head of New Line Pictures and one Martin Scorsese. See more »

Goofs

When the staff and patients are loading up to go on their picnic, two of the cars are 1955 Cadillac Fleetwood 75's. When they arrive at their destination, the cars have changed into 1958 and 1959 Cadillac Fleetwood 75's. The station wagon has changed from a 1959 Ford Country Squire to a 1960 Ford Country Squire. See more »

Quotes

Stephen Evshevsky: You hurt my hand!
Lilith Arthur: Let me see...
Lilith Arthur: [she closely examines his hand] You really have exquisite hands.
Stephen Evshevsky: I bite my nails.
Stephen Evshevsky: [continues] If I learn to trust my hands... would they really lead me to things I love?
See more »

Connections

Referenced in Wogan: The Best Of: Oscar Winners (2015) See more »

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User Reviews

 
Nice try but something is wrong
23 August 2009 | by howardeismanSee all my reviews

The mental institution in this film, called "Poplar Lodge" I believe, is modeled on Chestnut Lodge, a Bethesda, Maryland institution famed for early attempts to establish interpersonal relationships with (rich) psychotic patients. This fits the institutional style depicted in this film. Hopwever, the main characters do not seem to be mentally ill so much as metaphores for the madness es in our society. The perception that sexual expression represents evil or crazy behavior, not changed all that much from the time this film was made, frequent wars, and the way sensitive people are brushed aside as others hustle toward dubious goals, are all personified as forms of madness. Okay so far.

But the film does not quite work. The character played by Anne Meacham, seething with barely suppressed sexuality, works, but Lilith, played as a golden haired all American, girl next door beauty, doing and saying odd things, making up her own language, seeing herself as an outside observer of our society, is a character which doesn't hit home. She seems more quirky than mad. That she drives men into destructive actions seems somehow unlikely. At the most, she may be a catalyst for their weaknesses to be expressed.

Jean Seberg doesn't personify madness. She seems just bemused. Warren Beatty conveys a lack of inner direction, a developing depression, and strange longings by looking blank, seeming inarticulate, and acting as if he has no idea of the direction his next step will take. All of this slows this film down to a very languid pace, frequently accompanied by a relaxed bop-along jazz score. Thus, the film is too slow, a long windup for a soft pitch. It is hard to feel much tension, even though it is clear that there is supposed to be a lot of tension. Nice try, but no cigar.


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