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Clean, Shaven
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Clean, Shaven (1993) More at IMDbPro »

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Clean, Shaven -- Lodge Kerrigan began his succession of utterly unique, visually and aurally dazzling character studies with the raw, ravaging Clean, Shaven. A compelling headfirst dive into the mindscape of a schizophrenic as he tries to track down his daughter after he is released from an institution, Kerrigan's film brilliantly uses sound and image to lead audiences into a terrifying subjectivity.
Clean, Shaven -- A compelling headfirst dive into the mindscape of a schizophrenic as he tries to track down his daughter after he is released from an institution, Kerrigan’s film brilliantly uses sound and image to lead audiences into a terrifying subjectivity.


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Lodge Kerrigan (written by)
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Release Date:
21 April 1995 (USA) See more »
Peter Winter is a young schizophrenic who is desperately trying to get his daughter back from her adoptive family... See more » | Add synopsis »
6 wins & 4 nominations See more »
User Reviews:
Ranks with "Spider" as two best portrayals of schizophrenia See more (46 total) »


  (in credits order) (verified as complete)

Peter Greene ... Peter Winter
Alice Levitt ... Girl with Ball
Megan Owen ... Mrs. Winter
Jennifer MacDonald ... Nicole
Molly Castelloe ... Melinda Frayne
Jill Chamberlain ... Teenager at Motel
Agathe Leclerc ... Murdered Girl
Robert Albert ... Jack McNally
Roget Joly ... Police Photographer
René Beaudin ... Boy on Bicycle

J. Dixon Byrne ... Dr. Michaels
Eliot Rockett ... Man on Ladder / Man in Jeep
Angela Vibert ... Girl in Rain
Karen MacDonald ... Girl in Rain
Lee Kayman ... Bartender

Peter Lucas ... Drunk
Rob Benevides ... Robber
Ismael Ramirez ... Psychotic Derelict
Marty Clinis ... Library Patron
Ruth Gottheimer ... Library Patron
June Kelly ... Librarian
Grace Vibert ... Schoolteacher
James Hance ... Man in Adoption Agency
Marti Wilkerson ... Adoption Agent
Mike Benson ... Man in Jeep (as Michael Benson)
Cathleen Biro ... Drunk
Harlan Hamilton ... Drunk
Lily Neumeyer ... Additional Voices (voice)
Patrick Byrne ... Additional Voices (voice)
Andy Janjigian ... Additional Voices (voice)
Jessica Pymm ... Additional Voices (voice)
John Kelsey ... Additional Voices (voice)
David Pymm ... Additional Voices (voice)
Jonathan Cronin ... Additional Voices (voice) (as John Cronin)
Kenneth Pymm ... Additional Voices (voice)
Yvonne McDonald ... Additional Voices (voice)
Brian Pymm ... Additional Voices (voice)

Melissa Painter ... Additional Voices (voice)
Vanessa Miller ... Additional Voices (voice)

Directed by
Lodge Kerrigan  (as Lodge H. Kerrigan)
Writing credits
Lodge Kerrigan (written by) (as Lodge H. Kerrigan)

Produced by
J. Dixon Byrne .... executive producer
Lodge Kerrigan .... producer (as Lodge H. Kerrigan)
Melissa Painter .... associate producer
Original Music by
Hahn Rowe 
Cinematography by
Teodoro Maniaci (director of photography)
Film Editing by
Jay Rabinowitz 
Production Design by
Tania Ferrier 
Production Management
Alexandra Nevins .... production manager: New York City
Melissa Painter .... production manager: New York City
Grace Vibert .... production manager: Miscou Island
Second Unit Director or Assistant Director
Matthew Boccaccio .... assistant director: New York City
Eliot Rockett .... assistant director: Miscou Island
Antek Walczak .... assistant director: New York City
Art Department
Jill Chamberlain .... property master: Miscou Island
Jose Claudio .... set dresser: New York City
Sound Department
Brad Beckman .... adr recordist: post-production
Marko A. Costanzo .... foley artist: post-production
James Good .... sound editing room assistant: post-production
John Michael Kelsey .... location sound mixer: Miscou Island (as John Kelsey)
Brian Langman .... foley recordist: post-production
Tony Martinez .... supervising sound editor: post-production
David Novack .... sound re-recording mixer: post-production
Michael Parsons .... additional sound designer: post-production
Michael Parsons .... adr recordist: post-production
Michael Parsons .... location sound mixer: New York City
Matthew Perry .... location sound mixer: Miscou Island
Jac Rubenstein .... sound editor: post-production
Jon San Jose .... assistant sound editor: post-production
Bill Sweeney .... sound editor: post-production
Athina Rachel Tsangari .... boom operator: Miscou Island (as Rachel Tsangari)
Karen Wilkerson .... boom operator: New York City
Special Effects by
Rob Benevides .... special effects makeup
Camera and Electrical Department
Mike Benson .... assistant cameraperson: Miscou Island (as Michael Benson)
John Brown .... assistant cameraperson: New York City
Evan Eames .... assistant cameraperson: Miscou Island
Evan Eames .... assistant cameraperson: New York City
Carlos Omar Guerra .... assistant cameraperson: New York City (as Carlos Guerra)
Lloyd Handwerker .... assistant cameraperson: New York City
David Kaplan .... gaffer: New York City
John Michael Kelsey .... assistant cameraperson: New York City (as John Kelsey)
Michael Kunes .... grip: New York City
Heng Tatt Lim .... assistant cameraperson: New York City
Simon MacArthur .... grip: New York City
Craig Marsden .... assistant cameraperson: New York City
Ismael Ramirez .... assistant cameraperson: New York City
Ben Romer .... assistant cameraperson: New York City
Patrick Sisam .... assistant cameraperson: New York City
Scott Whitney .... assistant cameraperson: New York City
Costume and Wardrobe Department
Binda Colebrook .... wardrobe assistant: New York City
Traci Digesu .... costumer: New York City
Heather Rogan .... wardrobe assistant: New York City
Karen Small .... wardrobe assistant: New York City
Editorial Department
Megan B. Agosto .... editor: rough cut, post-production (as Megan Agosto)
Tony Grocki .... assistant editor: post-production (as Anthony Grocki)
Music Department
Christina Wheeler .... assistant music editor
Other crew
Fernando Alcalde .... script supervisor: New York City
Marjolene Beaudin .... caterer: Miscou Island
Elise Boer .... production assistant: Miscou Island
Luly Estevez .... pre-production assistant: Miscou Island
Carol Giardino .... pre-production assistant: Miscou Island
Laszlo McKenzie .... title designer
Catherine O'Brien .... production coordinator: New York City
Rachel Repetto Jolivet .... pre-production assistant: Miscou Island
Brian Sloan .... pre-production assistant: Miscou Island
Kahi Taufaasau .... production assistant (uncredited)
Crew verified as complete

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Additional Details

Also Known As:
79 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

Revealing mistakes: Murdered girl's corpse visible breathing.See more »
Nicole Winter:Is my mother really dead?
Peter Winter:Yes.
Nicole Winter:What was she like?
Peter Winter:[close to tears] She was... She wasn't like anyone else. She was different. Really different. There's a lot of people out there who - who want to hurt you. And wherever, wherever, wherever you are. And she was good.
See more »


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25 out of 33 people found the following review useful.
Ranks with "Spider" as two best portrayals of schizophrenia, 28 June 2004

Peter Winter (Peter Greene) is a tormented schizophrenic man who is let out of a hospital despite suffering from extreme symptoms of nearly continuous auditory hallucinations, paranoia, and a highly fragmented, discontinuous sense of reality. His one steady goal is to find his young daughter, Nicole (Jennifer MacDonald), who has begun a new life as an adoptee, following the murder of her mother. Peter first visits his own mother, a taciturn, emotionally withholding woman who is not at all pleased to see him. Later he discovers his daughter's whereabouts, when her adoptive mother brings Nicole to visit her grandmother (who is as chilly toward Nicole as she is toward Peter). Meanwhile, a police detective (Robert Albert), searching for a serial child killer, has concluded that Peter is his man. A fateful ending is set up when the detective encounters Peter with Nicole at an isolated beach.

There are serious flaws in this film: the screenplay is not well wrought and is too full of ambiguities, especially the entire serial child killing subplot. This is highly distracting. The acting is second rate, except for Greene's and MacDonald's performances. The film's strength lies in Kerrigan's insightful deployment of sound, setting and other effects to create the clinical realism of Peter's schizophrenic experience. Peter's intense, perpetual fear is palpable. Much of the film is shot in his car, where he has placed masking tape over the mirror, and newspaper over several windows, to fortify his privacy. The effect is an impacted atmosphere of paranoid insulation. Peter's hallucinated auditory experience – garbled voices, static and other noise, unaccompanied by any visual representations – is clinically valid. The voices and noise haunt him steadily. He tells Nicole he has had a radio device implanted in his head, with a transmitter in a fingernail. Earlier we had been exposed to his violent efforts to rid himself of these devices using scissors or a knife to gouge them out – forms of delusion-driven self-mutilation that are uncommon but not rare in persons suffering the throes of severe acute psychotic episodes. The use of tight close up camera angles - viewing Peter from just behind his back or in profile in his car - heighten the sense of claustrophobia, the extreme narrowing of Peter's psychotic world. The setting - Miscou Island, in New Brunswick – adds further accents of wildness and isolation to the overall tone of the film.

It can be argued that the detective's pursuit of Peter adds yet another source of paranoid fever to the film, though for me this conceit does not ring true. The fact that someone really is after Peter detracts from the power of his delusions. Other than this, Kerrigan can be congratulated for steering clear of the false visuals (realistically visualized imaginary friends and enemies) and other clinically implausible effects that Ron Howard used more recently in A Beautiful Mind. Anyone – professional or lay viewer – might rightly wonder how Peter could be discharged from the hospital in such poor psychiatric condition. Of course that happens every day in most contemporary short stay hospital settings, because involuntary treatment laws in most states prohibit keeping patients against their will except in the most extreme circumstances of immediate potential for violence. But we are given the impression at the start of this film that Peter had been incarcerated in a more traditional mental hospital, the sort in which people stay for long periods before discharge, until they appear relatively free of symptoms, sometimes longer. Of course these large old facilities are typically short staffed, keen clinical observation of patients may be scarce, and patients not uncommonly can muster a façade of normality to win their freedom.

The depiction of Peter's mother is also troublesome. Her grim withholding of affection for Peter and Nicole resurrects the spectra of the 'schizophrenogenic mother' – a psycho dynamic fiction popular the 1950s and 60s that accused parents, especially mothers, of causing schizophrenia through self serving, unaffectionate regard for their children. This myth was laid to rest long ago, and it is a black mark against this film to see such a notion resurrected. It does not dispel the power of this negative maternal portrayal when, from a distance, we see the mother crying as she hangs one of her son's shirts on a clothesline near the end.

Clean, Shaven shares with David Cronenberg's film, Spider, the distinction of offering the most believable portraits of highly symptomatic schizophrenic experience that have been brought to the big screen. I prefer Spider because the acting is uniformly first rate and the screenplay is superior. Both films pull the viewer into an exquisitely painful, odd, lonely, and ultimately unrewarding world, into experiences that many moviegoers would, no doubt, prefer to avoid. Dramatically, this is a "C" movie, but the portrayal of schizophrenia rates an "A."

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