7.7/10
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155 user 104 critic

Peeping Tom (1960)

Not Rated | | Crime, Drama, Horror | 15 May 1962 (USA)
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2:26 | Trailer

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A young man murders women, using a movie camera to film their dying expressions of terror.

Director:

Michael Powell

Writers:

Leo Marks (original story), Leo Marks (screenplay)
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Cast

Complete credited cast:
Karlheinz Böhm ... Mark Lewis (as Carl Boehm)
Moira Shearer ... Vivian
Anna Massey ... Helen Stephens
Maxine Audley ... Mrs. Stephens
Brenda Bruce ... Dora
Miles Malleson ... Elderly Gentleman Customer
Esmond Knight ... Arthur Baden
Martin Miller ... Dr. Rosen
Michael Goodliffe ... Don Jarvis
Jack Watson ... Chief Insp. Gregg
Shirley Anne Field ... Pauline Shields (as Shirley Ann Field)
Pamela Green ... Milly
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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 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 movies" of convulsed... Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

marked for death by Peeping Tom - To Look Meant Danger To Smile Meant Death! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English

Release Date:

15 May 1962 (USA) See more »

Also Known As:

Face of Fear See more »

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Box Office

Budget:

£135,000 (estimated)

Opening Weekend USA:

$77,752, 7 May 1999

Gross USA:

$83,957, 22 August 1999
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Eastmancolor)

Aspect Ratio:

1.75 : 1
See full technical specs »
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Did You Know?

Trivia

The first slasher film ever made. See more »

Goofs

When the trunk with the body is opened, the woman scans the body from left to right (from our perspective), and as soon as she sees the right side, she stares and screams. However, when we finally see the body inside, the head is on the left side. See more »

Quotes

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

Alternate Versions

In the scene where Mark is about to kill the 'model' "Milly" she lays on the bed bare breasted. For the US version they had to re-shoot with her breasts covered. See more »

Connections

Referenced in NYPD Blue: Peeping Tommy (2001) See more »

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User Reviews

 
A slasher flick with a heart of gold
22 January 2000 | by SpleenSee all my reviews

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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