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Jung finds in Spielrein a kindred spirit, and their attraction deepens due to transference.Jung resists the idea of cheating on his wife, Emma, and breaking the taboo of sex with a patient, but his resolve is weakened by the wild and unrepentant confidences of his new patient Otto Gross, a brilliant, philandering, unstable psychoanalyst.Unfortunately, the hype was more than the film could bear.While I appreciated some of Murder, this latest re-telling of Agatha Christie’s novel falls apart in the details. We haven’t seen Hercule Poirot on screen in a while. And, while Murder wasn’t my favorite, I would enjoy more Agatha Christie movies made from the novels. Branagh isn’t one of the problems I had with Murder.Hampton's earliest version of the screenplay, dating back to the 1990s, was written for Julia Roberts in the role of Sabina Spielrein, but the film was never realized.Hampton re-wrote the screenplay for the stage, before producer Jeremy Thomas acquired the rights for both the earlier script and the stage version.She soon learns that much of this new science is founded on the doctors' observations of themselves, each other, and their families, not just their patients.The doctors correspond at length before they meet, and begin sharing their dreams and analysing each other, and Freud himself soon adopts Jung as his heir and agent.
I didn’t enjoy that none of the other actors in the ensemble were given any development.
Gross decries monogamy in general and suggests that resistance to transference is symptomatic of the repression of normal, healthy sexual impulses, exhorting Jung to indulge himself with abandon.
Jung finally begins an affair with Spelrein, including rudimentary bondage and spanking.
It seems wasteful to have such a feast of accomplished actors and not use them to their fullest potential. The audience should have been struggling to keep-up.
It could have been a “don’t leave your seat for fear of missing something” movie, and it wasn’t. No detail was spared in making Murder look authentic.