In this action comedy, Jack Goldwater, an IRS agent on loan to the Federal Air Marshal Service, is relieved of field duty after insulting a powerful U.S. Senator, and finds himself exiled ... See full summary »
J. Neil Schulman
For the third time, HBO cameras go inside Trenton State Maximum Security Prison--and inside the mind of one of the most prolific killers in U.S. history--in this gripping documentary. Mafia... See full summary »
Obsessed with making a movie with Hollywood actress Anne Hathaway, a young man in Romania goes to shocking extremes using three local actresses to shoot scenes from the movie to send to Anne as proof of his filmmaking skills.
Feature film examining the existence of films in which people are murdered on camera and the culture surrounding them. Through interviews with former FBI Profilers, Cultural Academics, and ... See full summary »
Paul von Stoetzel
Larry C. Brubaker,
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
In Mark Lewis' "home movies," Prof. A.N. Lewis is played by director Michael Powell, young Mark Lewis is played by Powell's real-life son, Columba Powell, and Mark's mother, seen lying lifelessly in bed, is played by Columba's real-life mother, Frankie Reidy. See more »
When Mark is viewing his own 16 mm version of the police carrying the body of the prostitute from her flat, there are three bystanders shown between the camera and the police and gurney. When the bystanders move, they cast shadows on to the scene, revealing that they are actually standing in front of a motion backdrop. Thus Mark's film is of another film. See more »
[Mark approaches the prostitute, covertly filming her]
It'll be two quid
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I'll admit it: I was completely stumped; for almost all of the running time I had no idea where Michael Powell was going with this one. (Not that there are any twists in the plot - my uncertainty was of a different kind.) I think this made me all the more delighted when I at last found out.
Although it was made without co-archer Emeric Pressburger, we see the old Archers' logo at the start; except that this time it's overlaid with `A Michael Powell Production' - in tiny letters. This gave me a pang of sadness. `Peeping Tom' all but completely destroyed Powell's career; and however much and for whatever reasons critics and audiences may have loathed the film, this simply ought not have happened - especially since, good or bad, it's manifestly the work of a director at the height of his powers. The photography is wonderfully assured, the colours are as bright and stark and controlled and fantastic as ever, the script is clever and trusts to our intelligence, and Powell still knows how to keep our minds glued to the screen even when our eyes tell us that nothing much is happening. Every scene is unsettling. Most are creepy.
I could go on about the technical details - the use of sound and music is amazingly innovative, too - but what really elevates `Peeping Tom', what makes so many of the contemporary criticisms absurd, is its compassion. There's none of that watered-down Freudian guff we encounter in `Psycho'. Powell makes us feel for his serial killer - not so much by showing us that he feels pain but by showing us that he has ordinary, likeable human qualities as well as madness. A number of Powell's war-time said the same thing about Nazis. It's clear that he really meant it.
Not that this is an overt message of `Peeping Tom', and not that there aren't a lot of other things going on as well. I not only recommend, I BEG, that any admirer of Powell's earlier work give this one a try as well. Since Powell is striking out in a new direction there's an excellent chance you won't like it; but it deserves to be tried.
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