Lilith, starring Warren Beatty, Jean Seberg, and Peter Fonda, directed by Robert Rossen (1964)

Warren Beatty and Jean Seberg in Lilith, 1964. Could they be any prettier?

This is a totally appropriate patient/mental health assistant relationship. Just some good, wholesome frolicking in the barn. Nothing could go wrong here, certainly not between a borderline nympho and Warren Beatty.

Peter Fonda and Jean Seberg in Lilith, 1964.

Warren Beatty’s fourth movie was the psychological drama Lilith, released in 1964 and co-starring the lovely Jean Seberg in the title role. Once again, Lilith sees Beatty acting in his James Dean-influenced mumbly/confused/sensitive/angry young man mode, which he had now done in 3 of his first 4 movies. (See also, Splendor in the Grass and All Fall Down.) Lilith is another Tennessee Williams-influenced psychodrama with all of the standard elements-heavy Freudian overtones, overheated sexuality, madness, etc. (See also, Splendor in the Grass, The Roman Spring of Mrs. Stone, -which was actually written by Williams, and All Fall Down.) 

In Lilith, Beatty plays Vincent Bruce, a veteran who goes back to his hometown and doesn’t quite know what to do. It’s implied that he saw combat in the military, but since the movie is set in the present time of 1964 and isn’t a period piece-i.e., set right after World War II or Korea, that must mean that he was a “military advisor” in Vietnam, although it’s never specified where he served. Anyway, Vincent decides to go to Poplar Lodge, a private mental institution, and ask for a job. He interviews with Dr. Brice (Kim Hunter) and gets a job there as an assistant. Vincent quickly becomes a confidant of Stephen, a sensitive young man played by Peter Fonda, in one of his first film roles. Stephen has a crush on Lilith, (Jean Seberg) an attractive young female patient who seldom leaves her room. Vincent is able to gain the trust of Lilith, and she agrees to accompany some of the other patients on a picnic once she learns that Vincent is going along too. Before long, Lilith develops a major crush on Vincent. Which typically might be kind of a problem, except it’s not a problem at Poplar Lodge.

The psychiatrist who runs Poplar Lodge is impressed that Vincent is able to draw Lilith out of her shell, and during a conference about her case asks Vincent, “Do you think she’s trying to seduce you?” Vincent answers, in his mumbly way, “Possibly, but it seems like more than that.” The psychiatrist then asks, “Do you ever feel inclined to accept?” Vincent responds yes. And so, instead of maybe, you know, suggesting that young, fit, super-handsome Vincent possibly spend less time unsupervised with young, stunningly beautiful Lilith, the psychiatrist just lets it go. (“Gee, maybe we should keep Warren Beatty away from the female patients…”) I guess he’s just happy that Lilith is engaging with the world more. Vincent and Lilith go on a bunch of what are basically all-day dates, and Lilith starts engaging with the world a lot more when Vincent makes love with her in a field. 

Vincent doesn’t seem to be terribly conflicted about starting a relationship with Lilith, which could be a sign that he’s not in the right job. But they continue to go on a bunch of dates, including one to a proto-Renaissance Festival, complete with jousting contest-won by Vincent, of course. Vincent eventually figures out that Lilith is kind of a nymphomaniac, since she goes off to make out with another female patient in a barn, and says creepy things to little boys she meets when they’re out in public. But that doesn’t seem to change his feelings towards her. 

A couple of times during the movie Vincent sees his ex-girlfriend, Laura, around town. Laura is a very pretty brunette with striking eyes. When I saw her on screen I thought to myself, “Wow, that actress is really attractive, who is she?” Well, as I learned on imdb after watching the movie, Laura was played by Jessica Walter in her first film role. Walter is probably best known for playing abusive matriarch Lucille Bluth on “Arrested Development.” What? Young Lucille Bluth was hot? Yeah, she was. And Laura’s husband is played by a super-young, but still not that young-looking Gene Hackman, also in his first credited movie role. Hackman is terrific in his one scene with Beatty, and he definitely steals the scene from Warren, who is underacting as much as humanly possible. Fortunately, Beatty remembered working with Hackman on Lilith when he was casting Bonnie & Clyde, and cast Hackman in his breakout role as Clyde’s brother. Once Hackman leaves to go to a meeting, Laura says to Vincent, “You know how I told you I’d only really let you make love to me once I was married? Well, I’m married now.” Surprisingly, Vincent just leaves, marking this as one of the only occasions that Warren Beatty turned down sex.

Lilith is an interesting movie, and it’s well-directed by Robert Rossen, who also helmed All the King’s Men, and The Hustler. (One of his lesser films was Alexander the Great, starring Richard Burton wearing a terrible blonde wig, which I reviewed many years ago here.) Jean Seberg, the Iowa-born beauty who became a darling of the French New Wave, thanks to her performance in Breathless, gives a wonderful performance as Lilith, bringing just the right amount of vulnerability and sensuality to the part. Seberg was nominated for a Golden Globe for her performance in Lilith, losing out to Anne Bancroft for her excellent performance in The Pumpkin Eater. Sadly, the coming years would take a terrible toll on Seberg, as her anti-Vietnam War activism caused her to become a target of the FBI. The FBI set out on a campaign to embarrass Seberg, and they spread the rumor in 1970 that she was carrying the child of a prominent member of the Black Panthers. The rumor was false, but it was repeated in publications like Newsweek, and Seberg went into premature labor and her child died two days later. She sued Newsweek for libel and won. Tragically, Seberg would take her own life, overdosing on pills in 1979 at the age of 40. It was a sad end for a remarkably talented and beautiful actress.

The problem with Lilith, for me, was Warren Beatty. Vincent is a very dull character-if he weren’t played by someone as handsome as Beatty, there’s no way anyone would be interested in him. I think the character of Vincent is left extremely ambiguous-and maybe that’s the point, but for me there was too much ambiguity and not enough clarity. You never really know what Vincent is thinking. Maybe the key to Vincent is that he’s going crazy throughout the course of the movie. But if that’s the key, I think that point could have been made much better.  I think the character was poorly written, and I think Beatty was miscast in the role and didn’t do a good job. Vincent is a tricky role to play, because he’s so ambiguously written, and I think Beatty never decided how he wanted to play it. Vincent is also extremely inarticulate, even without Beatty’s mumbling and pregnant pauses and hesitant speech. Vincent’s inability to articulate anything is a problem, because Warren Beatty is above all a great talker. All of his best roles are charmers who talk a lot-so when he’s stuck with a role like Vincent, he’s wasted in the part.  

Another major problem with the movie for me is how easily Vincent oversteps his professional boundaries and starts a relationship with Lilith. The fact that Vincent tells the psychiatrist that he might have sex with Lilith and no one does anything to prevent this from happening is just wrong. I know it’s an integral part of the movie, but it’s just such a terrible decision both morally and ethically. Vincent is supposedly to be helping Lilith, not having a romantic relationship with her. He’s abusing his power by having a relationship with her.

Behind the scenes, Lilith was a very difficult shoot, and director Rossen was in failing health. Lilith was his last movie, and he died in 1966, just a year and a half after Lilith was released. During pre-production, Rossen and Beatty were on very good terms. As Peter Biskind writes in his Beatty biography, “Rossen welcomed Beatty’s participation on Lilith, treating him more like a friend and collaborator than an actor for hire. He involved him in script revisions and casting.” (Star: How Warren Beatty Seduced America, by Peter Biskind, p.60) Natalie Wood, who had just ended her relationship with Beatty, turned down the part of Lilith. Beatty toured Europe trying to find actresses to play Lilith, eventually suggesting Jean Seberg, who was living in Paris. Seberg accepted the part, and later said it was her favorite role of her career. 

In an article written for Cahiers du Cinema in 1967, Jean Seberg wrote of the relationship between Beatty and Rossen: “At the outset, Rossen and he had a relationship which was strangely fraternal, very intimate, very like accomplices, even. Oddly, this relationship of intimacy stopped at the first day of filming, and from then on, it did nothing but deteriorate more and more.” (Biskind, p.60) What caused the relationship to change? No one seems to know for sure. But it seems clear that Beatty’s deliberateness and his habit of asking a million questions on the set annoyed Rossen to no end. Maybe the problem was that Rossen thought that Beatty should know how to play the part once filming began, whereas Beatty was expecting more of a continuing dialogue throughout filming about the part-which is the kind of relationship he had with Elia Kazan. One story from the set is that Beatty asked Rossen the stereotypical actor’s question, “What’s my motivation?” Rossen yelled back, “Your goddamn paycheck!” (Warren Beatty: A Private Man, by Suzanne Finstad, p.303) Beatty himself said of Rossen, “I saw he wasn’t making a good picture and told him so, which did not endear me to him.” (Finstad, p.303) Well, that would piss anyone off. Beatty also told the film critic Judith Crist that he had tried to quit the production of Lilith, and when the producers wouldn’t allow him to leave the movie; he deliberately stopped trying to act and gave a bad performance. (Finstad, p.304) I tend to believe this story, since Beatty’s performance is so lifeless. It’s a terrible thing for Beatty to have done, and despite thinking that he was getting back at Rossen, he was also wrecking his own career by sabotaging his performance. Jean Seberg wrote to a friend during filming, “Warren Beatty’s behavior is just unbelievable. He’s out to destroy everyone, including himself.” (Biskind, p.61) 

 Lilith opened to lukewarm reviews and an indifferent box office in October, 1964. When filming began in April, 1963, Beatty hadn’t worked on a film in almost a year and a half, and when Lilith was released movie audiences hadn’t seen him since All Fall Down, which had opened 2 ½ years earlier. Beatty had turned down many movies in between All Fall Down and Lilith, including PT 109, the story of President John F. Kennedy’s World War II experiences. Just before agreeing to make Lilith, Beatty was almost set to start filming Youngblood Hawke, but he never signed his contract for the movie and was fired by Jack Warner. Beatty’s next few movies after Lilith were not successful either. His star would continue to dim in Hollywood, and it looked like he might be a one-hit wonder.

All Fall Down, starring Warren Beatty, Eva Marie Saint, Brandon De Wilde, Karl Malden, and Angela Lansbury, directed by John Frankenheimer (1962)

Warren Beatty in All Fall Down, 1962. Author Ellis Amburn used this photo for the cover of his biography of Beatty, The Sexiest Man Alive.

Warren Beatty, Angela Lansbury, Brandon De Wilde, and Eva Marie Saint in a scene from All Fall Down, 1962.

Warren Beatty’s third film, All Fall Down, from 1962, is not that great. The movie boasts an impressive pedigree, as it was produced by John Houseman, directed by John Frankenheimer, and also stars Eva Marie Saint, Angela Lansbury, Karl Malden, and Brandon De Wilde. The script was by playwright William Inge, famous for plays like Picnic, and Bus Stop. Inge adapted All Fall Down from the novel of the same name by James Leo Herlihy, who would go on to write the novel Midnight Cowboy. Inge was an important benefactor in the early career of Warren Beatty, as he had also written Beatty's first movie, Splendor in the Grass, and Beatty's first and only Broadway play, A Loss of Roses. All Fall Down is an offbeat story about a dysfunctional family. If the movie were made today, it would be a quirky indie movie, and it would probably be played for more laughs. 

Beatty plays a callous ladies’ man with the improbable name of Berry-Berry Willart. No, really. And by the end of the movie you will be very sick of hearing other characters say the name “Berry-Berry.” His name is mentioned about every third line. Lansbury plays another one of her overbearing mother roles, just as she would play Laurence Harvey’s overbearing mother in Frankenheimer’s The Manchurian Candidate, released later in 1962. Like her character in The Manchurian Candidate, Lansbury’s mother in All Fall Down seems to have an unhealthy obsession with her son Berry-Berry. There’s even a moment in All Fall Down where it looks like she is about to kiss her son on the lips, but she just gets very close to Berry-Berry and then runs away. This prefigures a famous moment in The Manchurian Candidate when Lansbury’s character kisses her son on the lips. This one moment tells us all we need to know about their relationship. Another similarity between the two films is that Lansbury is playing characters much older than herself, as she was not old enough to be the mother of the men who were playing her onscreen sons. In real life, Lansbury was just three years older than Laurence Harvey, eleven years older than Beatty, and nine years older than Elvis Presley-whose mother she played in Blue Hawaii, from 1961. (There are no Freudian overtones in Blue Hawaii, however.) 

The story of All Fall Down is told from the point of view of Berry-Berry’s 16-year-old little brother, Clinton, played very well by Brandon De Wilde, whose most famous role was the little boy in Shane. De Wilde played a very similar part the following year in Hud, where he plays little brother to Paul Newman’s amoral Hud. Both Berry-Berry and Hud are completely selfish people, leaving a trail of emotional wreckage behind them. 

Beatty as Berry-Berry is very much in James Dean mode, as he was in his first movie, Splendor in the Grass, which is a much better film than All Fall Down. Beatty broods, and though Berry-Berry attracts women like flies, he quickly discards them in very hurtful ways, often using physical violence. It’s rather ridiculous how easily women are attracted to Beatty in the movie. All it takes is one look at Beatty for them to suddenly offer to bring him along on a vacation with them. Of course, Beatty was a stunning physical specimen in 1962, with his full head of dark hair, piercing blue eyes, and full lips. But it gets tiring to see women fall all over themselves for him. One woman even says to him, “If I were a young man as handsome as you are, I would go to Hollywood and try to get into movies.” Berry-Berry is very similar to the role that Beatty had just finished playing, the gigolo Paulo in The Roman Spring of Mrs. Stone. There’s nothing redeeming about Berry-Berry’s character, even though his parents hold him up as the ideal son. 

Things start happening in All Fall Down when the daughter of a family friend, Echo, played by Eva Marie Saint, comes to town to stay with them. The first time she stays with them, Clinton falls deeply in love with her, even though she’s a much “older woman” of 31, who has never been married. When Berry-Berry meets Echo the second time she stays with the family, he literally doesn’t have to say a word to her, he just takes her hand in the backyard and they go off somewhere to make out. And Clinton is heartbroken at this turn of events. Karl Malden plays the ineffectual alcoholic father, and does the most he can with the part. But he is incapable of offering advice or wisdom to his two sons. (Malden and Marie Saint famously worked together before in On the Waterfront.) Berry-Berry and Echo start dating, his mother claims she is happy for them, Berry-Berry gets Echo pregnant, they have an argument, he leaves, and she drives off grief-stricken and dies in a car crash. We don’t really know if the car crash is an act of suicide or not, but my guess is that it probably was. Side note: given their ridiculous names, what on earth would Berry-Berry and Echo have named their baby? One shudders to think. Clinton then almost shoots Berry-Berry, but decides not to, leaving Berry-Berry to deal with the fact that he’s a jerk who ruins every significant relationship in his life. The end. Not an especially uplifting movie. 

So that’s the movie, an overheated pseudo-Freudian mishmash, with some teen angst thrown in for good measure. One of the oddest moments in the movie is the scene where Echo tells Lansbury’s character how her former boyfriend killed himself-carbon monoxide poisoning, which is the same way that screenwriter William Inge would kill himself eleven years later. Ugh. 

Behind the scenes, Warren Beatty rubbed everybody the wrong way from day one of rehearsal, and no one except for Karl Malden really liked him. Beatty’s penchant for Method-y brooding annoyed the other actors and won him no friends. To be fair to Beatty, at the time he was making All Fall Down in the summer of 1961 he was getting a lot of media attention as the “Next Big Thing,” but none of his movies had been released yet. Splendor in the Grass, Beatty’s very first movie, wasn’t released until October, 1961. Beatty may have been feeling a lot of pressure to live up to his publicity hype. And his fellow actors had not had a chance to see him act on screen, so they had no idea who this guy was. Beatty might also have been intimidated by the success of his fellow actors, who had all been in the business for a long time. At the time Beatty was making All Fall Down, he was a man who was famous, but not because of anything he had actually accomplished. He was famous because he was Shirley MacLaine’s kid brother, and because he was having very public romances with Joan Collins and Natalie Wood. (Beatty was accused of breaking up Wood’s first marriage to Robert Wagner.) Beatty was famous because of his personal life, not because of any talent he showed as an actor. This must have annoyed Beatty considerably, since he is ironically a very private man who doesn’t like discussing his personal life. This mistake early in his career of letting his private life become so public perhaps set the tone for the rest of his career. Also, Beatty had a tendency to date women at the absolute peak of their fame. Had he wanted less publicity about his private life, he should have started dating women who were not in show business. 

After an amazing start in movies in Splendor in the Grass, Beatty appeared in two duds in quick succession, The Roman Spring of Mrs. Stone, which was released in December, 1961, and All Fall Down, which was released in April, 1962. Beatty then took a long break from movies; turning down everything he was offered, including the part of a young John F. Kennedy in PT 109. (Cliff Robertson ending up playing Kennedy.) Given all that we now know about Kennedy’s sexual life, Beatty probably would have been an ideal choice. After All Fall Down, Beatty didn’t appear onscreen again until Lilith, released two and a half years later. Beatty didn’t make another hit movie until 1967’s Bonnie and Clyde, which finally confirmed his talent as an actor and producer.