Anthony Hopkins previously portrayed CS
Tale
Psychoanalyst Sigmund Freud invites Professor C.S. Lewis to discuss the existence of God, Freud’s unique relationship with his daughter, and Lewis’s unconventional relationship with his best friend’s mother. Lewis in the film Shadow of the Earth (1993) 30 years before this film. Lewis is shown researching the Gospels while a woman who appears to be his wife takes him to bed. The film is set in 1939, but Lewis did not marry Joy Davidman Gresham until 1956.
Variations on the original theme, op
That woman was actually Janie Moore, with whom Lewis lived until 1949. [last lines] Sigmund Freud: From error to error one discovers the whole truth.. Featured on The 7PM Project: Episode dated April 19, 2024 (2024). 36, ‘Enigma’ Variation 9: Nimrod Composed by Edward Elgar Performed by the Slovak Radio Symphony Orchestra (as the Slovak Radio Symphony Orchestra) & Adrian Leaper (conductor) Licensed by kind permission of Naxos Music UK Ltd. Strictly rated as a masterpiece from opening to closing, Freud’s Last Session is not a great film (probably more of a 6-star).
Lewis (Matthew Goode)
But director/writer Matt Brown’s effort contains enough interesting philosophical bits, supported by one terrific performance, to be enjoyed by even those who can sit down and watch it. It features a fictional encounter – which may or may not have actually happened – between the titular psychoanalyst (Anthony Hopkins) and Christian apologist C. S. As these two businessmen exchange philosophical worldviews in Freud’s house, the doctor’s daughter Anna (Liv Lisa Fries) grapples with her own relationship with her famous father, alongside her own estranged relationship with colleague Dorothy Burlingham (Jodi Balfour). I’m not entirely sure if Freud’s Last Session was ever made into a play, but if so, it might actually be a better format for it.
atheism) plot points
Since the film’s core is an intellectual battle between two academics, it’s a bit oddly suited to the big screen or presentation format. Brown tries to flesh things out with Freud’s daughter’s storyline and various flashbacks, but these paths feel a bit forced and ultimately serve to distract from the “main event.” Fortunately, the film has two things right in its corner: First, the back-and-forth between the two actually provides some thought-provoking (if somewhat familiar religion vs. A couple of lines really stuck out to me. Second, Hopkins continues to deliver transformative performances. His fans will not regret accepting it just because it was his turn.
Overall, I’ve decided on 7/10 stars for Freud’s final performance
Technically, it’s not even “as good” as the film, but Hopkins’ performance and the general setting are enough to make it enjoyable for even the nominally interested.