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Peeping Tom (1960)

Not Rated | | Drama, Horror, Thriller | 15 May 1962 (USA)
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A young man murders women, using a movie camera to film their dying expressions of terror.

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(original story), (screenplay)
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Cast

Complete credited cast:
...
Mark Lewis (as Carl Boehm)
...
Vivian
...
Maxine Audley ...
Brenda Bruce ...
Dora
Miles Malleson ...
Elderly Gentleman Customer
...
Arthur Baden
Martin Miller ...
Dr. Rosen
...
Don Jarvis
Jack Watson ...
Chief Insp. Gregg
...
Pauline Shields (as Shirley Ann Field)
Pamela Green ...
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Storyline

Mark Lewis, works as a focus puller in a British film studio. On his off hours, he supplies a local porno shop with cheesecake photos and also dabbles in filmmaking. A lonely, unfriendly, sexually repressed fellow, Mark is obsessed with the effects of fear and how they are registered on the face and behavior of the frightened. This obsession dates from the time when, as a child, he served as the subject of some cold-blooded experiments in the psychology of terror conducted by his own scientist father. As a grown man, Mark becomes a compulsive murderer who kills women and records their contorted features and dying gasps on film. His ongoing project is a documentary on fear. With 16mm camera in hand, he accompanies a prostitute to her room and stabs her with a blade concealed in his tripod, all the while photographing her contorted face in the throes of terror and death. Alone in his room, he surrounds himself with the sights and sounds of terror: taped screams, black-and-white "home ... Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

More Horrible Than Horror! More Terrible Than Terror! See more »

Genres:

Drama | Horror | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

15 May 1962 (USA)  »

Also Known As:

Face of Fear  »

Box Office

Budget:

£135,000 (estimated)

Opening Weekend:

$77,752 (USA) (7 May 1999)

Gross:

$83,957 (USA) (20 August 1999)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (cut)

Sound Mix:

(Westrex Recording System)

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Considered to be the first mainstream British movie to show female nudity. See more »

Goofs

The second victim of Mark is whistling while entering the stage where she is meeting Mark.Her lips movement doesn't match to the sound of the whistle. See more »

Quotes

[first lines]
[Mark approaches the prostitute, covertly filming her]
Dora: It'll be two quid
See more »

Connections

Featured in Histoire(s) du cinéma: Toutes les histoires (1989) See more »

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User Reviews

 
Notorious murder thriller which was years ahead of its time, and resulted in the downfall of its great director.
6 May 2005 | by (Todmorden, England) – See all my reviews

To understand the stir that Peeping Tom caused when it was released in 1960, you need to think about what audiences at that time were accustomed to when they went to the cinema. Innocent love stories, historical epics, action-packed westerns and colourful musicals were the staple cinematic diet of the time, certainly not dark, disturbing and intensely violent murder thrillers like this. What probably unsettled contemporary film-goers even more was the fact that a film of this kind could come from a much-loved and revered director like Michael Powell. In modern times, the equivalent would be if Steven Spielberg were to make a graphic and reviled film about paedophilia or bestiality, consequently never being allowed to stand behind a movie camera again. When Peeping Tom hit the big screen, it was rejected by the public and crucified by the critics, and left Powell's hitherto glorious career in ruin.

A film cameraman, Mark Lewis (Karl Boehm), displays psychotic tendencies as he murders women with a spiked tripod attached to the bottom of his camera, capturing on celluloid their final screams of agony. It is revealed that when he was a child, Mark was used as a guinea pig by his father (Michael Powell) in a series of psychoanalytical experiments about the symptoms of fear. Among other things, Mark's delightful dad would wake him throughout the night and shine lights in his eyes, drop lizards into his bed, and on one occasion even forced him to pose for photographs next to the dead body of his mother. As a result, Mark has an unhealthy obsession with fear and, in particular, the expression that people have on their face during moments of fear.

Peeping Tom is one of the few films that still has the power to shock all these years on. Psycho, released roughly at the same time, is still a great film but its shock value has been diminished by years of repeat viewings and increasing permissiveness in the cinema. But Peeping Tom is an altogether more disturbing piece of work. Boehm is excellent as the killer whose entire outlook has been skewed by his father's experiments. Also impressive is Anna Massey as the killer's fragile and unsuspecting fiancée. Powell directs the film brilliantly, using bold and dazzling colours to disguise the horrific atrocities that punctuate his film. It is understandable that the film was met with revulsion and rejection at that time, but in retrospect it is a film of real importance and power. In a 21st century world bombarded and desensitised by harrowing images on the news and in the movies, the theme of losing one's grasp on what is and isn't morally acceptable is more pertinent than ever. This is not easy viewing, but it IS essential viewing.


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