I don't care what other reviewers say, Assante and Cross did a great job in this film! The dream sequences were very important to it and I will watch this more because the 2nd time I watched it, I saw or heard something that I missed. I think if you watch this movie after watching "The Shift" with Dr. Wayne Dyer, those viewers who got frustrated with it will have a better grasp of what is actually taking place in the minds of these characters.This movie is intending to touch on the beginnings of Freudian psychology, but it goes much more than that. It chronicles the lives of two men who are worlds apart emotionally--or are they? It describes a friendship that benefited both for a time--or did it? It's up to the viewer really.Then the viewer is drawn into one of two things--transcendence or a pulling away when this movie hits is or her comfort zone too hard. It is worth a watch, but as I said, if you have trouble with it--watch "The Shift" first. That clears things up as far as character's motivations go.

Contrary to what another reviewer asserted, I think the dream sequences only add to what would have otherwise been a well constructed, if by the numbers, film.I like fantastic visual elements in films, and here they contrast nicely with the realism of historical Vienna locations and period costumes.The script is not historical per se, but it does touch upon some historical realities such as the influence Nietzsche had upon Freud.I gave it 8 stars because a couple of the accents were atrocious, and in parts it seemed like the lighting and color correction were not as even as they could be.Nevertheless, I found this gem among the most watchable of the films that have landed in my que as of late.

It is not a great movie. It is not a masterpiece. It may be boring and fake at first sight. But... A film about a Nietsche. Not very different of the philosopher. The character is seductive, power and Armand Assante is brilliant in his skin. The atmosphere is carefully recreated. Colors, gestures, social conceptions are pieces of a small visual museum. So, the movie is a good introduction to understand the shadows of XIX century end. For look the existence with the eyes of men of a special way to discover the essence of to be. Certainly, the film gives only sketches of great people. Lou Salome is more than strange muse of a philosopher and Nietsche is prophet in another sense than the character. No bad, no extraordinary. Only good subject of reflection. And introduction to cultural scene.

Fine production values, a dry sense of humor throughout, literate script, decent casting (Assante transcends his usual "heroics" and plays a crumbling soul nicely and Cross is always workmanlike and solid), and, slyly, the film (as the book did) finally gives Nietzsche credit for inventing modern psychoanalysis (since Freud, et al, in the field stole from his works outrageously and lavishly, without assigning him the proper credit for his startlingly original insights into the world-historical human, all too human capacity for self-deception).A tough work for an adaptation, but this movie succeeds where something like "Freud" dismally collapsed into timid clichés.Nietzsche would have gotten many a devilish laugh out of this work's visual craftiness.And appreciated being treated, not as a cartoon "Overman" idol, but a struggling, flawed, tragic-comically-profound human."Ecce Homo", his anti-"autobiography" warned those who followed not to take him too seriously.If this film stimulates a few people to pick up his "Joyful Wisdom" (La Gaya Scienza) or "Dawn", it will have made its honorable point.Yalom was, in essence, giving Nietszche a posthumous brother's embrace for his loneliness and struggle and brilliance and scorn and lack of recognition while he lived.This movie does the same.To a guy, who, friendless and abandoned and ignored through much of his writing life, still affirmed the Universe and humanity in the words: "Man would rather have the Void for a purpose than be void of purpose." -F.N.Worth a viewing.