Janet Margolin and Keir Dullea, play Lisa and David, two young people who are being treated in an institution for teens with mental issues. She talks in rhymes, and he can't stand to be touched, but this is a movie that probes below the surface of all its characters. As Dr. Swinford the compassionate head of the institution played by Howard Da Silva says, "Sickness makes people do things they don't want to do". As he helps David, they touch on many subjects, including the things that trouble most people. Howard Da Silva gives a thoughtful performance as Dr Swinford, a man who also has vulnerabilities, but his reticence also make him less threatening, and David's problems revolve around threat, real or otherwise. As David starts to deal with his issues, he helps Lisa overcome some of hers, although her problems are far deeper than his.This was Frank Perry's first directorial effort and his wife, Eleanor, wrote the screenplay. To bring their emotion-charged story to life they needed actors who could match its intensity. Fortunately, their choice was inspired.This was also Janet Margolin's first movie and it was early in Keir Dullea's career. What formidable talents they were. Janet Margolin was simply one of the most beautiful actresses you would ever hope to see - she is luminous in this movie and her performance is heart wrenching. Keir Dullea also had a look; arrogance and sensitivity all at once - he had real presence with intensity to spare. Both had backgrounds in the theatre; they were just as comfortable on the stage as on the sound stage; intimidating talents for actors who only worked in film.Neither star had the huge career in movies that one would have predicted for them in 1962. Keir Dullea of course had a big one with Kubrick's 2001, and gave powerful performances in a number of other films such as "The Fox", but apparently he enjoyed more success on the stage.Why an actress as beautiful and talented as Janet Margolin wasn't besieged with offers for some of the big roles in the 60's and 70's is a mystery. Although she did a couple of films with Woody Allen, most of her work seems to have been in television. One movie I really liked her in was the moody, seriously underrated Hitchcock homage, "The Last Embrace", made seventeen years after this one. "David and Lisa" was another fresh, brilliant work from a period that was a fertile one for dramatic films. As well as being Frank Perry's first film, it was probably his best. What an eclectic career he had, everything from "The Swimmer" to "Monsignor".However, he and his brilliant young stars created something truly special with this film. To paraphrase a line from "David and Lisa" - it's a pearl of a movie.

The movie's very un-Hollywoodish nature created considerable buzz at the time of release. Audiences weren't used to a documentary-like approach to such tricky subject matter. Then too, the production team and cast were not exactly household names. I expect the movie's success exceeded the Perry's fondest dreams. Happily, it gave them encouragement to continue independent production of offbeat subjects.The trick here is to have mental illness treated in a detached yet sensitive way. At the same time, David's (Dullea) ice-cold demeanor is not apt to win audience allegiance at the outset. We're never told exactly what his problem is, which is the way it should be, but the severe emotional repression evidently has to do with a cold, unfeeling mother (Patterson). Also, not wanting to be 'touched' looks like a metaphor for keeping his feelings hidden not only from others, but from himself as well. In that difficult role, newcomer Dullea is totally convincing— a handsome, pale-eyed iceberg.As Lisa, the unknown Margolin is wonderfully expressive, her face literally lighting up as David shares her secret language of rhyming. She is so winsome, it's not surprising that even David takes notice. We know less about Lisa than about David, but obviously the statues she embraces represent key absences in her life. When the two finally touch, a moving moment rare for any movie is reached. At the same time, note how the therapist Dr. Swinford (deSilva) is portrayed more as a facilitator than as an analyst. He provides the environment in which the two can reach each other in ways that his expertise cannot. And he's wise enough to know that. I don't know what the Perry's expected from their two principal actors, but what they got is almost sublime, and a big reason why I think audiences responded so enthusiastically. Too bad the film has slipped into obscurity since that initial reception. It certainly deserves rediscovery, especially on TCM.

This was an outstanding film dealing with two young people who had mental problems that were deep seeded into their minds and how they both struggled; to help each other find the light at the end of the tunnel. Keir Dullea,(David Clemens) "De Sade",'69, played the role of ayoung man coming from a rich family, who had a big hang up about anyone touching him in any way, even with a pinkie finger. If you did touch him, he went crazy and carried on like a brat of a child. Janet Margolin,(Lisa Brandt),"Annie Hall",'77, was another mentally disturbed young girl, pretty and seemed to glow when she looked at David. Howard Da Silva,(Dr. Swinford),"The Great Gatsby",'74 was the shrink in charge of the mental facility and had a full time job just trying to get David & Lisa to open up their twisted and disturbed minds. Great acting and a very enjoyable film, which at times is depressing and very down to earth.

This film is a true gem. I get the impression that it just missed being given an Academy Award nomination for Best Picture. After all, it did get a nomination for Best Director and usually the two go hand in hand. I also feel that both Keir Dullea and Janet Margolin deserved to be nominated for their acting roles in the top category. The whole thing is sublime and sensitive, handling difficult material in a tender way that seems more European than American. I suppose some might call it contrived and deliberately "artistic" to the point of being obnoxious, but it did not rub me that way. I think it stands the test of time.What is memorable to me is the simple beauty of the film. The black and white cinematography is outstanding. The scenes flow naturally. The camera angles and editing are exact and unobtrusive. The actors are given their chance to provide the motion in the picture, rather than the camera constantly panning around. This allows the viewer to focus on the two lead characters without being distracted.