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Ahora podrás Ver Sybil Online
Del director Daniel Petrie

Basada en la verdadera historia de una chica llamada Sybil, que tuvo una infancia tan terrible que a los trece años ya había desarrollado trece personalidades diferentes…

Storyline »


A young woman whose childhood was so harrowing to her that she developed at least 13 different personalities.

Rotten Tomatoes

Review by gary brumburgh (IMDb) :

How does one survive, much less overcome, long-standing child abuse? Newscasts are littered with the more unusual, horrific stories – children imprisoned in closets or chained to beds with little more than food or water; tiny children dying in hot, sweltering autos or stuffed into car trunks while a parent works. In yesterday’s paper alone, an archbishop of a progressive church was charged with the strangulation of a 15-year-old girl he sexually assaulted for years, while on the opposite page a woman and her boyfriend were charged with beating two of her children with a metal pipe, their battered bodies bearing the marks of years of abuse. How does a child get through this WHILE IT IS HAPPENING? Somehow, some way they MUST build up some sort of mental toughness or defense mechanism to combat the agony and fear – either by tuning out or systematically shutting down — going into deep states of denial and emotional withdrawal. And then there is Sybil Dorsett…

Sally Field is unforgettable as the titular victim of incessant child abuse, a woman who dissolved into SIXTEEN separate and distinct personalities in order to cope with a mother who inflicted indescribable childhood tortures. She is nothing short of amazing, especially in her “dissociative” scenes as she morphs with lightning speed into one or more of her “inner family” — a combative, self-assertive Peggy Lou, a mothering but suicidal Mary, a vivacious, ambitious Vicky, a frightened, thumb-sucking Sybil Ann, or even an athletically-inclined Mike. All of them personalities created and programmed unconsciously by Sybil to endure any situation she herself couldn’t handle, and triggered by almost anything — a hostile argument, piano music, certain colors, street sounds, even a word.

What is incredible about Field’s performance as Sybil (not her real name) is the ability to tear down her own barriers to such an extent that she can revert into a flood of strange babblings or shockingly infantile behavior at the drop of a hat. It is such a compelling and all-consuming feat that these scenes come off almost improvisatory in style. One particular marvel of a scene has Sybil’s psychologist discovering her patient, an artist by nature, lodged under a piano taken over by one of her more immature personalities, tormented by thunderous sounds of Dvorak and Beethoven, illustrating her torment on paper with brightly-colored crayons. It is to director Daniel Petrie’s credit that he was able to create such a safe environment for Field to let herself go like this. With “Sybil,” Field, who won an Emmy, forever dispelled any theories that she was a one-note actress trapped with a Gidget-like cuteness.

In an ironic bit of casting, Joanne Woodward essays the role of Sybil’s psychologist, Dr. Cornelia Wilbur, who finally pinpoints Sybil’s mental disability and starts her on the long, arduous journey of putting the “selves” back together. Woodward won an Academy Award decades earlier as a similar victim of MPD (multiple personality disorder) in a curious but ultimately heavy-handed and very dated film “The Three Faces of Eve.” Woodward is superb here as a professional clearly out of her element but determined to find a light at the end of the tunnel for this poor, unfortunate girl.

The late Brad Davis, as an unsuspecting acquaintance who wants to get to know Sybil better, adds a tender, sympathetic chapter to Sybil’s turbulent life, while William Prince and Jane Hoffman are compelling as Sybil’s bloodless father and stepmother who offer puzzling, ignorant explanations to Sybil’s “problem.” Charles Lane has a significant scene as Sybil’s small-town doctor (as a child) who failed to report his examination findings, and little Natasha Ryan, in flashback sequences, must be commended for reenacting the more harrowing details of Sybil’s childhood torment. Jessamine Milner as Sybil’s grandmother has a few affecting moments as a doting grandma who offers Sybil brief moments of respite.

However, the most chilling portrait of evil you’ll ever witness on TV goes hands down to stocky, harsh-looking Martine Bartlett as Sybil’s monster of a mother. She lends horrifying believability to the fragmented, unbalanced woman who gets sadistic pleasure out of her routine torturous acts. Bartlett, a respected stage actress little seen on film, was known for another bizarre but fascinating screen role as a crazy, self-abusing mental patient in “I Never Promised You a Rose Garden.” As Hattie Dorsett, she displays subtle, calculating menace, which makes her even more terrifying, as she devises a number of “games” to inflict on her only child. Some of these scenes are extremely repelling and graphic in nature, but it is all handled as responsibly as possible, considering the actual incidents DID occur.

Hopefully seeing this dark, disturbing, but ultimately important TV-movie will inspire you to read Flora Rheta Schreiber’s best selling book, which details Sybil’s childhood, blackout episodes (the real Sybil once woke up finding out she had missed the entire sixth grade(!), therapy sessions, the battle of alter-egos for control of Sybil, and the subsequent unifying process, through the professional vantage point of Dr. Wilbur and with more depth. Trust me, you won’t be able to put it down and you’ll never question the boundaries and/or consequences of child abuse again.

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Película basada en el libro Sybil, que cuenta la historia del personaje real Shirley Ardell Mason (en la película y el libro es el personaje de Sybil Dorsett).

Durante tres horas de duración, se nos sumerge de lleno en la enfermedad mental del personaje Sybil, una mujer que sufre trastorno de personalidad múltiple. Los casos reales de este trastorno son extrañísimos en psiquiatría, de ahí que la doctora Cornelia (Joanne Woodward) quede fascinada y se vuelque de lleno en la terapia de su paciente.

Progresivamente, y mezclado con el sentimiento de perplejidad, esta doctora va sintiendo un cariño especial y casi maternal hacia Sybil, quien, a su vez, logra confiar poco a poco en su terapeuta.

Se trata de una rotunda obra, con momentos que hacen poner la piel de gallina. Las enfermedades mentales existen, y ésta es una excelente oportunidad de comprobar hasta qué punto los abusos sexuales, el maltrato infantil y/o cualquier suceso sumamente traumático acontecido en la vida de un ser humano puede llegar a ser negado por el propio individuo, encastando en las capas más profundas de un lugar remoto para, desde ese sombrío lugar, hacer que nuestras vidas sean un tormento de fobias, tics, neurosis, paranoia, esquizofrenia, trastornos obsesivos o cualquier otra forma de daño. Determinadas escenas del filme son muy duras y uno termina por sentir verdadera rabia por lo que le pasó a esa pobre niña que sufrió toda clase vejaciones por parte de su propia madre. Esta obra también sirve para plantear un debate: ¿Hasta qué punto una persona con trastornos mentales graves no tratados por un especialista está preparada para educar a un hijo?

Muy interesante producto (hecho para la televisión), perteneciente al género dramático, con algunas salpicaduras de terror. Altamente recomendable. (Fragmento de la crítica realizada por Francesc Canals en el sitio "muchocine.net")

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