Fran walks into a piano bar for pizza. She comes back home with Joe, the piano player. Joe plans on winning $5,000 and leaving Las Vegas. Fran waits for something else. Meanwhile, he moves in with her.
A young lady has been widowed and left with a baby son to bring up alone. She decides that the baby needs a father figure and decides to marry a psychologist. She hides her son with an ... See full summary »
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 <email@example.com>
In Lilith's room there's the following words written on her wall: "hiara pirlu resh kavawn", which she says comes from a language she developed. Though the film never translates those words, in the book which the film was based, translates the words as "If you can read this, you will know I love you." See more »
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 »
One of the great pleasures of watching older films is that, beyond the obvious joys of character and plot, they also offer us a look past the films' action and into the world in which they were made: the fashions of dress, design, and social attitude that prevailed at the time. All of this "background," so taken for granted by the filmmakers in their day, can, when seen across a focal space of time and social change, reveal fascinating elements unguessed-at when the films were made.
So it is with LILITH. Other comments on this film have more than adequately discussed the plots and motivations of the characters; what I found unexpectedly mesmerizing and appalling was its view of the mental institution of the mid-1960s. Warren Beatty's character has no experience in such a setting, but he'd like to "help people," so he's hired on the spot and immediately put in charge of patients who, by definition, aren't responsible for their own actions. The inmates seem to be mostly left to do as they please, whether it be teetering at the edge of a precipitous cliff or wandering off in the woods, easily slipping away from their inattentive keepers.
When Beatty's character begins to be attracted to Lilith, the chief shrink calls him in and asks if this is the case. "No, I don't think so," says Beatty, patently lying through his teeth. "Well," says Dr Big reassuringly, "it's not unheard-of for patients to fall in love with the orderlies, and sometimes, unfortunately, it happens the other way as well." And that's that: with this appalling (to modern-day ears, at any rate) bit of 'advice,' or possibly nudge-wink encouragement, he pats the oafish horndog on the back, tells him he's doing a great job, and sends him off to town on yet another date with Lilith. Whenever Beatty does express concern about anything job-related, the medical staff just interrupts him with "don't worry, you're doing a fine job" and gently shoos him out.
What a different world it was, forty years ago! Mind you, I'm not judging the film by social standards that never occurred to its time; indeed, the things it reveals about the 'care' of mental patients in 1963 are what made it most interesting to me. All the characters are either entertainingly insane or arrestingly clueless idiots, and Lilith herself is a sufficiently complex and compelling character to make this melodrama watchable all on her own.
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