Occasionally ridiculous in the dream/hypnotherapy sequences and borderline slapstick bio-pic in others, 'When Nietzsche Wept' somehow remained compelling enough to have me sit right through to the end despite an unconvincing father of psychoanalysis still having to show ID for the age of consent (Jamie Elman as Freud) and Katheryn Winnick as cigar chomping proto ladette femme fatale Lou Salome.
There is very little exploration of Nietzche's philosophical ideas here but instead his incredibly prescient innovation in the realm of psychology as seen through the prism of the incipient discipline of psychoanalysis in Vienna circa 1882. Ben Cross is brilliant as the likeable albeit conveniently repressed and commensurately flawed Dr Breuer, adrift in a loveless marriage, a materially successful career but bereft of passion, danger or excitement in his unfailingly dutiful life. Things start to resemble the relationship between poets Verlaine and Rimbaud at this point (see Agnieszka Holland's 'Total Eclipse' from 1995) with Nietzsche advising Breuer to throw off the shackles of his unthinking conformity and embrace his freedom. Nietzsche certainly never did this, having died a virgin (despite being portrayed in a whorehouse) and was an invalid for most of his adult life on a pension paid for by academia. Whether Breuer actually makes this existential plunge is open to debate as the Director would have us believe this whole extended sequence was under Freudian hypnosis. Armand Assante was assigned one of the most thankless casting gigs of all time by being asked to portray the most innovative and radical thinker humankind has produced in over a thousand years. My gut feeling, on a personal level is that when Friedrich Nietzsche entered a room, that room got larger i.e. Assante exudes a cynical but palpable personality consistent with what he sees as his remit but I suspect Nietzsche was silent, inscrutable and withdrawn which is clearly anathema to cinematic portrayals. The movie is based on Irvin D. Yalom's 1992 novel which I haven't read but is purportedly concerned with the idea of limerence which as an idea is about as robust as 'gender' in 2023.
There is very little exploration of Nietzche's philosophical ideas here but instead his incredibly prescient innovation in the realm of psychology as seen through the prism of the incipient discipline of psychoanalysis in Vienna circa 1882. Ben Cross is brilliant as the likeable albeit conveniently repressed and commensurately flawed Dr Breuer, adrift in a loveless marriage, a materially successful career but bereft of passion, danger or excitement in his unfailingly dutiful life. Things start to resemble the relationship between poets Verlaine and Rimbaud at this point (see Agnieszka Holland's 'Total Eclipse' from 1995) with Nietzsche advising Breuer to throw off the shackles of his unthinking conformity and embrace his freedom. Nietzsche certainly never did this, having died a virgin (despite being portrayed in a whorehouse) and was an invalid for most of his adult life on a pension paid for by academia. Whether Breuer actually makes this existential plunge is open to debate as the Director would have us believe this whole extended sequence was under Freudian hypnosis. Armand Assante was assigned one of the most thankless casting gigs of all time by being asked to portray the most innovative and radical thinker humankind has produced in over a thousand years. My gut feeling, on a personal level is that when Friedrich Nietzsche entered a room, that room got larger i.e. Assante exudes a cynical but palpable personality consistent with what he sees as his remit but I suspect Nietzsche was silent, inscrutable and withdrawn which is clearly anathema to cinematic portrayals. The movie is based on Irvin D. Yalom's 1992 novel which I haven't read but is purportedly concerned with the idea of limerence which as an idea is about as robust as 'gender' in 2023.