The movie's very un-Hollywoodish nature created considerable buzz at the time of release. Audiences weren't used to a documentary-like approach to such tricky subject matter. Then too, the production team and cast were not exactly household names. I expect the movie's success exceeded the Perry's fondest dreams. Happily, it gave them encouragement to continue independent production of offbeat subjects.
The trick here is to have mental illness treated in a detached yet sensitive way. At the same time, David's (Dullea) ice-cold demeanor is not apt to win audience allegiance at the outset. We're never told exactly what his problem is, which is the way it should be, but the severe emotional repression evidently has to do with a cold, unfeeling mother (Patterson). Also, not wanting to be 'touched' looks like a metaphor for keeping his feelings hidden not only from others, but from himself as well. In that difficult role, newcomer Dullea is totally convincing— a handsome, pale-eyed iceberg.
As Lisa, the unknown Margolin is wonderfully expressive, her face literally lighting up as David shares her secret language of rhyming. She is so winsome, it's not surprising that even David takes notice. We know less about Lisa than about David, but obviously the statues she embraces represent key absences in her life. When the two finally touch, a moving moment rare for any movie is reached.
At the same time, note how the therapist Dr. Swinford (deSilva) is portrayed more as a facilitator than as an analyst. He provides the environment in which the two can reach each other in ways that his expertise cannot. And he's wise enough to know that.
I don't know what the Perry's expected from their two principal actors, but what they got is almost sublime, and a big reason why I think audiences responded so enthusiastically. Too bad the film has slipped into obscurity since that initial reception. It certainly deserves rediscovery, especially on TCM.
The trick here is to have mental illness treated in a detached yet sensitive way. At the same time, David's (Dullea) ice-cold demeanor is not apt to win audience allegiance at the outset. We're never told exactly what his problem is, which is the way it should be, but the severe emotional repression evidently has to do with a cold, unfeeling mother (Patterson). Also, not wanting to be 'touched' looks like a metaphor for keeping his feelings hidden not only from others, but from himself as well. In that difficult role, newcomer Dullea is totally convincing— a handsome, pale-eyed iceberg.
As Lisa, the unknown Margolin is wonderfully expressive, her face literally lighting up as David shares her secret language of rhyming. She is so winsome, it's not surprising that even David takes notice. We know less about Lisa than about David, but obviously the statues she embraces represent key absences in her life. When the two finally touch, a moving moment rare for any movie is reached.
At the same time, note how the therapist Dr. Swinford (deSilva) is portrayed more as a facilitator than as an analyst. He provides the environment in which the two can reach each other in ways that his expertise cannot. And he's wise enough to know that.
I don't know what the Perry's expected from their two principal actors, but what they got is almost sublime, and a big reason why I think audiences responded so enthusiastically. Too bad the film has slipped into obscurity since that initial reception. It certainly deserves rediscovery, especially on TCM.