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
During the opening sequence we can see a shot of Mark's camera, showing that it is somewhat concealed in his coat, at chest level or lower. In the subsequent "first person" shots of the prostitute (supposedly showing what's being seen through the camera's viewfinder) it seems to have moved to eye level. See more »
[Mark approaches the prostitute, covertly filming her]
It'll be two quid
See more »
The film proved to be problematic for the BBFC who demanded around 7 mins of cuts. Among these were reductions to the murder scenes, closeups of the spike on Mark's camera, all shots of nude girls in photo albums and on colour slides, closeups of a woman's disfigured face, shots of Milly lying on the bed, and dialogue during the conversation between the police officers in the car. Later video and DVD releases contain much of the footage, suggesting that not all of the cuts were made, although the original uncut print now appears to be lost forever. See more »
Notorious murder thriller which was years ahead of its time, and resulted in the downfall of its great director.
To understand the stir that Peeping Tom caused when it was released in 1960, you need to think about what audiences at that time were accustomed to when they went to the cinema. Innocent love stories, historical epics, action-packed westerns and colourful musicals were the staple cinematic diet of the time, certainly not dark, disturbing and intensely violent murder thrillers like this. What probably unsettled contemporary film-goers even more was the fact that a film of this kind could come from a much-loved and revered director like Michael Powell. In modern times, the equivalent would be if Steven Spielberg were to make a graphic and reviled film about paedophilia or bestiality, consequently never being allowed to stand behind a movie camera again. When Peeping Tom hit the big screen, it was rejected by the public and crucified by the critics, and left Powell's hitherto glorious career in ruin.
A film cameraman, Mark Lewis (Karl Boehm), displays psychotic tendencies as he murders women with a spiked tripod attached to the bottom of his camera, capturing on celluloid their final screams of agony. It is revealed that when he was a child, Mark was used as a guinea pig by his father (Michael Powell) in a series of psychoanalytical experiments about the symptoms of fear. Among other things, Mark's delightful dad would wake him throughout the night and shine lights in his eyes, drop lizards into his bed, and on one occasion even forced him to pose for photographs next to the dead body of his mother. As a result, Mark has an unhealthy obsession with fear and, in particular, the expression that people have on their face during moments of fear.
Peeping Tom is one of the few films that still has the power to shock all these years on. Psycho, released roughly at the same time, is still a great film but its shock value has been diminished by years of repeat viewings and increasing permissiveness in the cinema. But Peeping Tom is an altogether more disturbing piece of work. Boehm is excellent as the killer whose entire outlook has been skewed by his father's experiments. Also impressive is Anna Massey as the killer's fragile and unsuspecting fiancée. Powell directs the film brilliantly, using bold and dazzling colours to disguise the horrific atrocities that punctuate his film. It is understandable that the film was met with revulsion and rejection at that time, but in retrospect it is a film of real importance and power. In a 21st century world bombarded and desensitised by harrowing images on the news and in the movies, the theme of losing one's grasp on what is and isn't morally acceptable is more pertinent than ever. This is not easy viewing, but it IS essential viewing.
167 of 183 people found this review helpful.
Was this review helpful to you?
| Report this