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Images (1972)

7.2
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Ratings: 7.2/10 from 2,361 users  
Reviews: 41 user | 27 critic

Schizophrenic housewife, engulfed by terrorizing apparitions, kills off each, unknowing if these demons are merely figments of her hallucinatory imagination or part of reality.

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Title: Images (1972)

Images (1972) on IMDb 7.2/10

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Nominated for 1 Oscar. Another 2 wins & 5 nominations. See more awards »
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Cast

Complete credited cast:
...
...
Hugh
Marcel Bozzuffi ...
Rene
Hugh Millais ...
Marcel
Cathryn Harrison ...
Susannah
John Morley ...
Old Man
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Storyline

Like Polanski's heroine in Repulsion, Susannah York's character is one that is seemingly haunted by memories of undisclosed magnitude. These memories are perhaps rooted in some sort of past sexual turmoil that causes York's character to see men as inherently the same. Written by Ed <repulsion2000@yahoo.com>

Plot Summary | Add Synopsis

Taglines:

A motion picture of the extra senses.

Genres:

Drama | Fantasy | Horror

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

18 December 1972 (USA)  »

Also Known As:

A Sombra do Duplo Amante  »

Box Office

Budget:

$807,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Actress Susannah York once said of this film: "It seemed a whole string of incidents with nothing to link them together into a meaningful whole. In fact, I would have turned down the part, only Bob [Altman] rang me up from Los Angeles. Imagine trying to hold a conversation with somebody in America from a telephone box in a Greek village cafe! I couldn't hear very much, but I gathered he wanted to fly over to Greece to talk things over with me. I was trying to say . . . well, is it really worth your while to come all that way, because I'm not very keen". See more »

Connections

Referenced in From the Journals of Jean Seberg (1995) See more »

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User Reviews

Altman's lost dream sonata
16 September 1999 | by (los angeles) – See all my reviews

I have spent a grown lifetime seeking this 1972 Altman dreamscape, and lost all hope when a friend reported that the director told a Q-and-A audience that Columbia had mistakenly destroyed the negative. A specialty store in Santa Monica somehow found a video copy, and it was worth fifteen years' wait.

Suggestive of the tinkling, misted-over fugue states of QUINTET and THREE WOMEN, IMAGES riffs lyrically off Polanski's REPULSION. Where Polanski's film is pitched somewhere between sixties horror and the dry joke-telling of Bunuel, Altman's version is lush, druglike, sensuously baroque. Susannah York plays a children's writer in a remote Irish cottage who seems to be spending too much time indoors. (Were the movie not lost in obscurity, you might think her an antecedent for Jack Torrance and Barton Fink.) As she copes with the would-be-regular-guy puttering of her schmucky husband (Rene Auberjonois, in a role rightly intended for Michael Murphy), two other loathsome men flit into her life--the husband's buddy, an Irish lecher played by Hugh Millais, and a seemingly dead ex-lover, played by Marcel Bozzufi. As these men appear to bleed into one another in York's mind, so do they soon start bleeding into the cottage's Persian rugs.

IMAGES defines Altman as the freest and most fearless of all American moviemakers. Most critics only stand behind Altman's we-are-the-people movies--his community mosaics. But he clearly is as passionate about mapping inner worlds as outer ones, and these Expressionist chamber pieces are his most feckless works. The movie is also a reminder of what Altman lost when he stopped hiring Vilmos Zsigmond to shoot his movies. Almost no one on the planet has such an intuitively graceful and expressive shooting style, but Zsigmond's stunning work here--among his finest--reveals that it's a long walk downstairs from Zsigmond to the likes of Jean Lapine. And note should be made of the work of the youngish composer who wrote the elegant, sinewy, restrained score--a decidedly non-bombastic, anti-symphonic fellow whom we now know as John Williams.


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