It’s become clear over the years that John Huston’s failed but fitfully interesting 1962 biopic about Freud’s early career (up to the point when he formulated the Oedipus complex) was scripted mainly by Jean-Paul Sartre—who withdrew his name from the project after his second draft, which would have made a much longer film, was radically condensed—rather than by Charles Kaufman and producer Wolfgang Reinhardt, who apparently received screen credit for their whittling. With a strained and somewhat ill Montgomery Clift trudging through the lead part, the film benefits from Douglas Slocombe’s black-and-white photography and an excellent secondary cast (Larry Parks, Susannah York, Susan Kohner); it suffers from Sartre’s dogged and fundamentally anticinematic literalism. Huston works hard on the dream sequences, but one feels the effort more than the results.