Sybil

I saw this film a few times, and loved Sally Field's performance. Here we see a grown up who blocks out the memories of a harrowing child abuse. What we discover is that Sybil learns to protect the psychological "inner child" by developing personalities that are warm and comforting. The way she unlocks the real Sybil is by therapy with a Dr. Wilbur.This film does not portray childhood as rosey and bright;We see the poor child hung up by a rope as the mom administers an enima.We see the mother lock her in a dark box.From the film,We understand the "hands' of evil belonged to a person Sybil dearly loved and trusted. The way Dr. Wilbur helps Sybil is to unite the personalities together in one. We hear Sybil say "I love You" as she hugs herself;That expression of affection was what the poor child never heard growing up. What this film teaches us, is to believe in our own worth and gain strength in our abilities. I loved Joanne Wooodward, and her character helps Sybil find the perfect person she truly was.

This is one of the most impressive movies I've seen ever. Sally Field's acting was superb! I can see why she won an award for it. Ms. Field's portrayal of this poor girl's (Sybil) insight into her emotions and thoughts was breathtaking. Sally was perfect for the part. Joanne Woodward was also excellent in her role as the psychiatrist who supports Sybil thru her memory ordeal concerning her abhorrent upbringing. The movie gives, I think, a very thorough understanding of Dissociative Identity Disorder, also known as MPD.

This is a great movie for psychology students to watch, as well as, anyone who is interested in the psychology of the mind and how it deals with trauma for some individuals. Although I don't suffer from multiple personalities, I found that this movie helped to give me personal insight into my own issues dealing with my own abusive upbringing. This is a great film to watch whether it be for entertainment or for educational reasons.

Sybil, originally aired way before my time, but I got a chance to see it two years ago in my health class in school. Recently while channel surfing, I came across the movie again. I have always had an interest in Multiple personalities, or MPD. Having studied it in a Human Behavior class, I have become obsessed with learning more about it.

The movie Sybil is about the life and lives of at least 16 different people all sharing the body of one person. The movie deals with a hard subject and has some pretty disturbing scenes. One scene that is very unsettling happens towards the end of the movie where Sybil's crazy mom locks her in a trunk. The things that he r mother put her through are so horrible. It's a shame that this young woman's life was full of obstacles. Sally Field definitely deserved an Emmy for her compelling, complex performance as the title character. She goes from each personality flawlessly. She is a very talented actress, the performance only proves that she can play any part. Joanne Woodward, who in this film has switched roles from her Oscar winning performance in The Three Faces Of Eve, where she played a woman with MPD, does an equally outstanding job. Brad Davis turns in one of his best performances. The movie itself is one of the best made for television movies. It grabs you and holds you until it's chilling ending. Sybil is a movie surrounded hope, but covered in sadness. It is an excellent piece of movie making. I give it 4/4.

This was a deeply harrowing movie to watch, and unbelievably so when it came out in 1976. A small child in the grip of her homicidally insane mother, who inflicted sadistic torture on her, while her ineffective husband looked the other way when the signs of abuse were obvious.

There's a small performance in this movie that haunted me more than almost anything else in the film; the part of the grandmother, played by Jessamine Milner, who was as much a victim and prisoner in the home of her psychotic daughter as Sybil was. The difference was she was aware of the extent of her daughter's insanity.

What must it be like to be a prisoner in your own adult child's home, knowing she is inflicting abuse on your grandchild and will do the same to you if you speak? That kind of helplessness must be sheer hell to live with. She could have told her son-in-law or the police at any time (if she was able to get out of the house), but would they have done anything? Or turned a blind eye, considering the time?

Jessamine Milner's performance was so honest and affecting, it stands out as one of the most painful parts of the film, and she is in only two minutes of it! She was born in 1894, and was almost 80 when she made the film. She apparently was in her mid-seventies when she went into film! She's a mystery, and other than her few TV appearances in the late 70s, nothing apparently is known about her. However, she deserves a mention somewhere because of her performance in this difficult to watch film.

How does one survive, much less overcome, long-standing child abuse? Newscasts are littered with the more unusual, horrific stories - children imprisoned in closets or chained to beds with little more than food or water; tiny children dying in hot, sweltering autos or stuffed into car trunks while a parent works. In yesterday's paper alone, an archbishop of a progressive church was charged with the strangulation of a 15-year-old girl he sexually assaulted for years, while on the opposite page a woman and her boyfriend were charged with beating two of her children with a metal pipe, their battered bodies bearing the marks of years of abuse. How does a child get through this WHILE IT IS HAPPENING? Somehow, some way they MUST build up some sort of mental toughness or defense mechanism to combat the agony and fear - either by tuning out or systematically shutting down -- going into deep states of denial and emotional withdrawal. And then there is Sybil Dorsett...

Sally Field is unforgettable as the titular victim of incessant child abuse, a woman who dissolved into SIXTEEN separate and distinct personalities in order to cope with a mother who inflicted indescribable childhood tortures. She is nothing short of amazing, especially in her "dissociative" scenes as she morphs with lightning speed into one or more of her "inner family" -- a combative, self-assertive Peggy Lou, a mothering but suicidal Mary, a vivacious, ambitious Vicky, a frightened, thumb-sucking Sybil Ann, or even an athletically-inclined Mike. All of them personalities created and programmed unconsciously by Sybil to endure any situation she herself couldn't handle, and triggered by almost anything -- a hostile argument, piano music, certain colors, street sounds, even a word.

What is incredible about Field's performance as Sybil (not her real name) is the ability to tear down her own barriers to such an extent that she can revert into a flood of strange babblings or shockingly infantile behavior at the drop of a hat. It is such a compelling and all-consuming feat that these scenes come off almost improvisatory in style. One particular marvel of a scene has Sybil's psychologist discovering her patient, an artist by nature, lodged under a piano taken over by one of her more immature personalities, tormented by thunderous sounds of Dvorak and Beethoven, illustrating her torment on paper with brightly-colored crayons. It is to director Daniel Petrie's credit that he was able to create such a safe environment for Field to let herself go like this. With "Sybil," Field, who won an Emmy, forever dispelled any theories that she was a one-note actress trapped with a Gidget-like cuteness.

In an ironic bit of casting, Joanne Woodward essays the role of Sybil's psychologist, Dr. Cornelia Wilbur, who finally pinpoints Sybil's mental disability and starts her on the long, arduous journey of putting the "selves" back together. Woodward won an Academy Award decades earlier as a similar victim of MPD (multiple personality disorder) in a curious but ultimately heavy-handed and very dated film "The Three Faces of Eve." Woodward is superb here as a professional clearly out of her element but determined to find a light at the end of the tunnel for this poor, unfortunate girl.

The late Brad Davis, as an unsuspecting acquaintance who wants to get to know Sybil better, adds a tender, sympathetic chapter to Sybil's turbulent life, while William Prince and Jane Hoffman are compelling as Sybil's bloodless father and stepmother who offer puzzling, ignorant explanations to Sybil's "problem." Charles Lane has a significant scene as Sybil's small-town doctor (as a child) who failed to report his examination findings, and little Natasha Ryan, in flashback sequences, must be commended for reenacting the more harrowing details of Sybil's childhood torment. Jessamine Milner as Sybil's grandmother has a few affecting moments as a doting grandma who offers Sybil brief moments of respite.

However, the most chilling portrait of evil you'll ever witness on TV goes hands down to stocky, harsh-looking Martine Bartlett as Sybil's monster of a mother. She lends horrifying believability to the fragmented, unbalanced woman who gets sadistic pleasure out of her routine torturous acts. Bartlett, a respected stage actress little seen on film, was known for another bizarre but fascinating screen role as a crazy, self-abusing mental patient in "I Never Promised You a Rose Garden." As Hattie Dorsett, she displays subtle, calculating menace, which makes her even more terrifying, as she devises a number of "games" to inflict on her only child. Some of these scenes are extremely repelling and graphic in nature, but it is all handled as responsibly as possible, considering the actual incidents DID occur.

Hopefully seeing this dark, disturbing, but ultimately important TV-movie will inspire you to read Flora Rheta Schreiber's best selling book, which details Sybil's childhood, blackout episodes (the real Sybil once woke up finding out she had missed the entire sixth grade(!), therapy sessions, the battle of alter-egos for control of Sybil, and the subsequent unifying process, through the professional vantage point of Dr. Wilbur and with more depth. Trust me, you won't be able to put it down and you'll never question the boundaries and/or consequences of child abuse again.

WARNING - Don't rent the confusing, chopped-up two-hour version, also available on tape. This was a two-part, over three-hour long drama when initially shown and THIS version is what rates a "10."