In 1950s London racial hostility to Commonweath immigrants is openly paraded. A pregnant girl, initially assumed to be white, is murdered. As two detectives start to investigate, and ... See full summary »
A serial killer in London is murdering young women whom he meets through the personal columns of newspapers; he announces each of his murders to the police by sending them a cryptic poem. ... See full summary »
The great hypnotist Professor Montserrat has developed a technique for controlling the minds, and sharing the sensations, of his subjects. He and his wife Estelle test the technique on Mike... See full summary »
The aristocratic Tony moves to London and hires the servant Hugo Barrett for all services at home. Barrett seems to be a loyal and competent employee, but Tony's girlfriend Susan does not ... See full summary »
A plea for reform of England's anti-sodomy statutes, this film pits Melville Farr, a married lawyer, against a blackmailer who has photos of Farr and a young gay man (who is being blackmailed and later commits suicide) in Farr's car. After the suicide, Farr tracks down other gay men being extorted for money by the same blackmailer. The well-educated police Detective Inspector Harris considers the sodomy law nothing more than an aid to blackmailers, and helps Farr in calling his blackmailer's bluff. The movie, far ahead of its time, ends with Farr and his wife coming to terms with his homosexuality after the public exposure he faces in the blackmailer's trial. Written by
Mike Mills <firstname.lastname@example.org>
The word "queer" is used in two contexts in this movie. Firstly in "Queer Street" meaning to be in difficulties, particularly financial. Secondly in the whitewash daub on the garage door "FARR IS QUEER" meaning he is gay. See more »
When the taxi leaves to take the blackmailer back to base to count the loot, the next shot shows the watching policemen about to give chase, with the same taxi parked on the street behind them. See more »
Well it used to be witches. At least they don't burn you.
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From what I have read, this was the first British film ever to use the word "homosexual" in the dialogue. That may, or may not, be technically true. Regardless, in 1961, overt gay references were risky to filmmakers, at least in Britain and the United States. Thus, the most amazing thing about "Victim" is the simple fact that it was made.
The film's theme is anything but subtle. Viewers in 1961 learn that government laws punish gays and encourage blackmailers, who function as predators to extort money from those whose instincts are out of sync with societal "norms". The film thus portrays gay men as prey, and tending to be secretive, scared, nervous, and sad. Dirk Bogarde gives an excellent performance as a powerful married barrister, secretly gay, who thinks he himself is on the verge of being blackmailed.
But while the film thus has obvious educational benefits, it is also quite entertaining, thanks to the plot rationale, which revolves around trying to guess who the blackmailer is. It's a whodunit mystery. Well into the film, a rather strange looking young man appears on a motorcycle and proceeds to chastise a barber for trying to escape from impending blackmail payments. But is this young man the real blackmailer, or just an envoy?
Adding to the entertaining plot line is the wonderfully off-kilter, noirish lighting from DP Otto Heller. The B&W cinematography conveys an appropriately moody, sometimes sinister, tone, consistent with the film's theme.
Some films try to be educational but end up preachy. Other films succeed at being educational, but lack entertainment value. "Victim" succeeds both as education and as entertainment, owing to its daring and absorbing screen story, its excellent direction, its good performances, and its effective cinematography.
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