The theme Disturbed Psychology refers to portraits of abnormal psychology as depicted in fantastic cinema. This is separate from the topic Psychos and Serial Killers concerning those who exhibit psychopathic behaviour, which is so populous it has been propagated into its own topic. Treatments of Multiple Personality Disorder are also so common they get their own topic under Split Personality. For depictions of the practice of psychiatry and psychology see Psychology; for its malevolent practitioners see Sinister Psychiatrists; for psychiatric institutions see Asylums.
In the choice of the term ‘Disturbed Psychology’, no slur is meant against those who suffer real world mental health issues. It should be made clear that the melodramatic depictions of mental health on screen are in most cases a fiction that rarely approximate the way these issues affect people in the real world. Even celebrated films based on real-life individuals with mental illness – Shine (1996), A Beautiful Mind (2001) – adopt absurdly melodramatic treatments that have little resemblance to reality.
Depictions of Disturbed Psychology fall into roughly three categories:-
- Depictions of Madness – works concerned with portraits of the mentally ill
- Subjective Portraits of Mental Illness – works that come from the point-of-view of a mentally ill person and show their distorted view of the world
- Ambiguously Fantastic Portraits of Mental Illness – works in which we cannot be certain that the appearance of fantastical elements is due to the protagonist’s mental health issues.
Depictions of Madness
The 1930s and 40s were not exactly known as sympathetic in their treatments of mental illness. Usually, as in films like Among the Living (1941), Hangover Square (1945) and Beware, My Lovely (1952), the mentally ill were creepy and wide-eyed and likely to be easily triggered to snap. A notable example was A Double Life (1947) with Ronald Colman as a Shakespearean actor who becomes so absorbed in playing the role of Othello on stage that he develops murderous tendencies.
One of the more distinctive early works about madness is Edgar Allan Poe’s story The Fall of the House of Usher (1839) whose central character Roderick Usher is driven mad by an over-acuteness of senses. This has been subject to a number of films adaptations, the most noted being The Fall of the House of Usher (1928) and The House of Usher (1960).
A number of works concern themselves with individuals and their descent into obsessions of various types – as in Bullet Ballet (1998) where a man becomes obsessed with obtaining a gun, In My Skin (2002) in which a woman is obsessed with self-mutilation, and Ab-Normal Beauty (2004) about a woman obsessed with photographing death. In other works, we see that broodingly obsessive states of mind will frequently tip over into murder – as in Alyce (2011), 1922 (2017) and Tilt (2017).
One of the most disturbing works here is David Cronenberg’s Dead Ringers (1988), which concerns twin gynaecologists and charts their descent into drug addiction, obsession and madness. Of note also is the descent into madness we see in Antichrist (2009), which director Lars von Trier claims to have made to deal with his own state of depression.
A powerful work was Martin Scorsese’s Taxi Driver (1976) where Robert De Niro’s title character descends into obsession and begins arming himself with guns to shoot a target seemingly as a reaction against the corrupt world around him or his inability to find a place in it. Falling Down (1993) features Michael Douglas as a regular guy who abruptly snaps and goes on a shooting rampage over the petty injustices of everyday life. Joker (2019) reinvents the DC Comics super-villain as a downtrodden failure suffering untreated mental illness who snaps and finally finds himself in the role of a killer clown.
Other works such as Killer Nerd (1991), The Butcher Boy (1997), Excision (2012) and Excess Flesh (2015) concern downtrodden individuals who snap as a result of abuse and ill treatment in their lives. Both Heart of America: Home Room (2002) and Elephant (2003) concern themselves with the build-up to school shootings, while Exhibit A (2007) is a Found Footage film concerning the disintegration of a family. Well worthwhile was Bellflower (2011) concerning itself with Mad Max fans where the latter half of the film makes a descent into disturbed psychology as one character attempts to deal with a breakup.
There are a number of works that offer day-to-day portraits of highly disturbed individuals as in Crawlspace (1972), Combat Shock (1986), Schramm (1993), My Son, My Son, What Have Ye Done (2007), Sick Girl (2007), Child of God (2013) and The Eyes of My Mother (2016).
One cannot go without mentioning Anna M. (2007), the single most disturbing portrait of unhinged stalker behaviour ever put on screen.
Subjective Portraits of Madness
This is concerned with works in which what we see on screen is subjectively taking place inside the mind of a mentally disturbed individual. In many cases, the dividing line between what is real and imagined in not clear.
The key film here was the German Expressionist classic The Cabinet of Dr Caligari (1919), which takes place in a realm of distorted and angular sets with stark and exaggerated lighting schemes. The eventual twist ending reveals this to be taking place inside the mind of a patient in an asylum where the sinister title doctor turns out to be the psychiatrist. This was remade as Dr Caligari (1989) and The Cabinet of Dr. Caligari (2005). Similar and possibly influenced by Dr Caligari was the Japanese film A Page of Madness (1926).
Hugely influential was Roman Polanski’s Repulsion (1965), which takes place in the decaying mind of Catherine Deneuve and blurs between what is real and what is hallucination without any dividing line. Polanski also returned to the theme in The Tenant (1976) in which he plays a mousy man who is being driven to a state of paranoia and loss of his identity by his neighbours.
Other works influenced by Polanski include Ingmar Bergman’s Hour of the Wolf (1968) with Max Von Sydow as an artist haunted by hallucinations and David Cronenberg’s Spider (2002) with a mentally ill Ralph Fiennes. A fascinating work here is the Finnish Love is a Treasure (2002), which depicts the interior mental spaces of real-life mentally ill people.
Pink Floyd – The Wall (1982) takes place inside the drug-addled, mentally-decaying mind of a rock star. The subjective portrait still continues in works such as The Witch Who Came from the Sea (1976), Track 29 (1988), Lunatics: A Love Story (1991), Heavenly Creatures (1994), The 4th Dimension (2006), The Number 23 (2007), Darling (2015), Goddess of Love (2015), The Evil Within (2017) and The Lighthouse (2019).
A common theme in this section is of works that borrow from The Cabinet of Dr Caligari and conduct a left-field pullback at the last minute to reveal the assorted happenings have been the imaginings of someone’s overheated or hallucinating state of mind. Examples might include Identity (2003), The Machinist (2004), Next Door (2005), Pandorum (2009), Black Swan (2010), Shutter Island (2010), The Ward (2010), Comforting Skin (2011), Dream House (2011), Girl in Woods (2015), Last Girl Standing (2015) and Fractured (2019).
We have other works where the dividing line between the real world and disturbed psychology is not clear as in Possession (1981), Pop Skull (2007), Amer (2009), Apparition (2015) and The Ghoul (2016). Films featuring delusionary happenings and imagined companions are so extensive they are dealt with more under their own topic Mad Person’s Delusion.
The subjective portrait was uniquely turned on its head with The Voices (2014) that takes place in the Day Glo world of Ryan Reynolds’ head, which is abruptly revealed as something more grim when he goes off his meds.
Another interesting entry would be The Cell (2000) in which psychiatrist Jennifer Lopez uses a device by which she can enter the surreal mental terrain of a serial killer’s mind.
Madness and The Ambiguously Fantastic
This is concerned with depictions of the fantastic and supernatural where we cannot be certain if what is happening is real or in the mind of a mentally ill individual. A classic example is The Shining (1980) where we cannot be certain if the ghosts of the hotel are real or figments from the struggling writer’s block of Jack Nicholson. Another good example is the struggling mother who cannot be sure if she is imagining the appearances of the boogeyman in The Babadook (2014).
Other among these ambiguous films include the appearances of the Jersey Devil in The Barrens (2012), Michael Shannon’s prophecies of the end of the world in Take Shelter (2011), Brian Morvant’s claims of military experiments and a creature in his basement in Pod (2015), MacLeod Andrews’ obsession with demons in the remarkable They Look Like People (2015) and Ty Hickson’s maybe having conjured The Devil or just having gone off his meds in The Alchemist’s Cookbook (2016).
It is a standard trope within the theme Hauntings and Ghost Stories where the heroine (usually) has a past history of mental health issues and her husband and authorities dismiss her claims about evidence of the supernatural due to this. This uncertainty plays out at the centre of films such as Scared Stiff (1987), Perfect Strangers (2003), Lovely Molly (2011) and Darling (2015).
A real world example is Requiem (2006) based on the real-life story of Annelise Michel – whose story was considerably fictionalised in The Exorcism of Emily Rose (2005) – who was in reality a girl suffering from mental illness whose struggles were interpreted as demonic possession.
- The Cabinet of Dr Caligari (1919)
- Repulsion (1965)
- Hour of the Wolf (1968)
- Taxi Driver (1976)
- The Shining (1980)
- Pink Floyd – The Wall (1982)
- Dead Ringers (1988)
- The Butcher Boy (1997)
- In My Skin (2002)
- The Machinist (2004)
- Requiem (2006)
- Anna M. (2007)
- Shutter Island (2010)
- Bellflower (2011)
- Rocks in My Pockets (2014)
- The Voices (2014)
- They Look Like People (2015)
- The Evil Within (2017)
- Joker (2019)
A full list of titles can be found here Disturbed Psychology