
Touched
1983

1962
Not RatedDirector
Frank Perry
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
Teenager David Clemens develops a hysterical fear that he will die if he comes into physical contact with another person. Perturbed, David's overbearing mother places him in a home for mentally disturbed young people, but David remains withdrawn from the other patients and his psychiatrist. Over time, however, David grows interested in 15-year-old Lisa, who suffers from multiple personalities – one who can only speak in rhyme, and the other, a mute.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on a heterosexual romance. There is no presence of non-cisnormative identities or same-sex intimacy.
Gender Representation
Lisa is defined by her complex psyche rather than submissive tropes. David disrupts masculine archetypes by presenting profound vulnerability and psychological incapacity.
Racial & Ethnic Diversity
The cast is predominantly homogeneous, reflecting 1962 social constraints. The narrative lacks characters of color in roles of agency.
Religious & Cultural Diversity
The story critiques institutional authority and restrictive social structures. It prioritizes subjective emotional truth over clinical or religious dogma.
Disability Representation
Neurodivergence is the central pillar of the narrative. The film grants David and Lisa agency, focusing on the authentic reality of invisible disabilities.
Strengths
Areas for Improvement
AI Analysis
David and Lisa is a character-driven drama that prioritizes the internal emotional landscapes of its protagonists. While the film is culturally specific to its 1962 era, it offers a sophisticated look at psychological fragility. The film excels in its empathetic treatment of mental health, moving beyond mere plot devices to provide depth to neurodivergent experiences. However, it remains limited by the era's lack of racial and LGBTQ+ diversity. Ultimately, the work succeeds by centering marginalized psychological states, even as it adheres to the white-centric storytelling standards of its time.

1983

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