Lizzie is about lead Eleanor Parker’s struggle with multiple personality disorder. More accurately perhaps, Lizzie is about Parker’s multiple personality disorder. As a protagonist, Parker disappears fairly quickly into the film’s eighty minute runtime. She doesn’t even get to open the film; it introduces her through other characters’ expository conversation.
Screenwriter Mel Dinelli, quite unfortunately, often relies on expository conversation.
When Parker is the lead, however, Lizzie is in pretty good shape. Even though Parker’s alternate personalities are a little shallow as far as characterization goes, Parker’s performance is strong. Even she can’t do anything with the hallucination sequences though. Lizzie is a technical mess. Director Haas (who gives himself a supporting acting role, which I’ll get to in a bit) has three directorial modes. Some of Lizzie, when the film is just watching Parker act, feels experimental and edgy. Unfortunately, it contrasts with Haas’s inept handling of regular sequences. Lizzie doesn’t have much of a budget and the sets are bad, something Haas and cinematographer Paul Ivano aggravate. But then Haas and Ivano also go for foreboding mood, with the inept assistance of composer Leith Stevens, and Lizzie feels even more uneven.
As Parker’s psychiatrist, Richard Boone doesn’t have much to do but he’s sincere in the performance. There’s even a scene where Parker tries to draw him out a little, allow him room for personality and Boone demurs. Like I said before, Dinelli’s script is a mess.
As Parker’s suffering aunt, Joan Blondell is good. She starts out as a shrill harpy, but eventually Blondell is able to do something with the part. Haas, as an actor, is her mooning sidekick.
Lizzie has some great acting from Parker, who unfortunately proves no matter how fine a performance, when something is dramatically inert, there’s no way to get it moving.