'Peeping Tom' (1960): Michael Powell (Director), Leo Marks (Screenplay), Karlheinz Böhm, Anna Massey, Moira Shearer & Pamela Green. Rating 8/10
'Peeping Tom' was a controversial film directed by a master of British cinema ('The Life and Death of Colonel Blimp, 'One of Our aircraft is Missing, 'Black Narcissus, 'The Red Shoes', etc.). It was ahead of its time in 1960. In our somewhat puritanical age, the same could perhaps be said of today. As for the film, it is easier to say what this film is not. It is not a proto-slasher movie. It is not principally a movie about a serial killer. Perhaps somewhat surprisingly, the sexual dimension is arguably secondary.
The story focuses on Karlheinz Böhm's character Mark Lewis. Ultimately a killer, Mark was traumatised by his father, who monitored him intensively throughout his youth (including on film) for 'scientific purposes', e.g. Mark's reaction at his mother's deathbed was captured on film. The voyeuristic theme of the movie is thus introduced. Capturing fear and distress on tape/film seems to have been particularly important to Mark's father. The father, young son and dead mother in these old films were played, rather significantly, by the director and his own wife & son (Columba). As for the cinematography, apart from the costumes, we are presented with a lush almost 'Hammer Horror-like' backdrop. More interestingly perhaps, the death scene with Moira Shearer is remiscent of Antonioni's later 'Blow Up' (the famous photo shoot - David Hemmings & Vanessa Redgrave). Moira Shearer's performance, her third for Powell, is quite remarkable.
It is suggested that part of the critical outrage on the film's release was due to the sympathetic portrayal of the protagonist. Indeed, we can empathise with Mark - or at least recognise that he, too, is a victim. To understand all is to forgive all. Hitchcock was apparently so concerned by the reception of 'Peeping Tom' that he consequently released his contemporary work 'Psycho' without a press viewing.
It is a matter of cinematic lore that this film destroyed Powell's career. Whether this is true or not - as his 'next' film was not highly regarded ('The Queen's Guards') & he had perhaps unrelated funding difficulties, the work was at least recognised as a significant film during his own lifetime. It must also be remembered that Powell later directed the excellent 'Age of Consent' with James Mason and Helen Mirren (1969).
So, what is the film really about? Whilst I recognise that many an academic paper could be written on this work, (in my view) the film is about the nature of cinema. In particular, the role and motivations of the director and 'his' audience. Whilst the writer (Marks) suggested a strong sexual motivation for Mark, this is largely only hinted at in the movie. The first clear indication in the movie that his motivation was sexual was when Helen kissed him (I stand to be corrected here). He does not react until she leaves, when his erotic response was directed towards his ever-present camera, or perhaps more so towards what his camera represented. Mark considers himself to be a scoptophiliac and even tries to identify a possible therapy. He is a man obsessed, a victim of his compulsions and disturbed youth. However, he desperately fights to overcome these in the case of the 'final girl', Helen (Anna Massey) - for whom he feels genuine affection.
Pamela Green (Milly) is said to have reported, perhaps rather disturbingly, that Powell had his two young sons witness the filming of her 'nude' scene in the studio (not in the UK print). This reinforces the voyeuristic theme, the director as voyeur. Powell is watching his film being filmed, in which a film is shown portraying Powell and his family (as actors), who are the family of our primary voyeur Mark. He, in turn, films others in order to catch the ultimate height of emotion (fear) in his 'victims'/'actresses' faces, as the director himself Powell might do - and as we will ultimately witness ourselves on the big screen. One thing is clear, the principle voyeurs here are Powell and the audience. Perhaps this is what made and still makes the film so disturbing. It is certainly no 'slasher'. If anything, the film challenges the motivations of those drawn, like Mark, to filmed graphic and horrific scenes - scenes which are are largely absent from 'Peeping Tom'. Apart from the denouement, the horrors are largely suggested, rather than shown.
Thoroughly recommended. A compelling and thought-provoking film from a master of British film.
Mark Twitchett 07/20
'Peeping Tom' was a controversial film directed by a master of British cinema ('The Life and Death of Colonel Blimp, 'One of Our aircraft is Missing, 'Black Narcissus, 'The Red Shoes', etc.). It was ahead of its time in 1960. In our somewhat puritanical age, the same could perhaps be said of today. As for the film, it is easier to say what this film is not. It is not a proto-slasher movie. It is not principally a movie about a serial killer. Perhaps somewhat surprisingly, the sexual dimension is arguably secondary.
The story focuses on Karlheinz Böhm's character Mark Lewis. Ultimately a killer, Mark was traumatised by his father, who monitored him intensively throughout his youth (including on film) for 'scientific purposes', e.g. Mark's reaction at his mother's deathbed was captured on film. The voyeuristic theme of the movie is thus introduced. Capturing fear and distress on tape/film seems to have been particularly important to Mark's father. The father, young son and dead mother in these old films were played, rather significantly, by the director and his own wife & son (Columba). As for the cinematography, apart from the costumes, we are presented with a lush almost 'Hammer Horror-like' backdrop. More interestingly perhaps, the death scene with Moira Shearer is remiscent of Antonioni's later 'Blow Up' (the famous photo shoot - David Hemmings & Vanessa Redgrave). Moira Shearer's performance, her third for Powell, is quite remarkable.
It is suggested that part of the critical outrage on the film's release was due to the sympathetic portrayal of the protagonist. Indeed, we can empathise with Mark - or at least recognise that he, too, is a victim. To understand all is to forgive all. Hitchcock was apparently so concerned by the reception of 'Peeping Tom' that he consequently released his contemporary work 'Psycho' without a press viewing.
It is a matter of cinematic lore that this film destroyed Powell's career. Whether this is true or not - as his 'next' film was not highly regarded ('The Queen's Guards') & he had perhaps unrelated funding difficulties, the work was at least recognised as a significant film during his own lifetime. It must also be remembered that Powell later directed the excellent 'Age of Consent' with James Mason and Helen Mirren (1969).
So, what is the film really about? Whilst I recognise that many an academic paper could be written on this work, (in my view) the film is about the nature of cinema. In particular, the role and motivations of the director and 'his' audience. Whilst the writer (Marks) suggested a strong sexual motivation for Mark, this is largely only hinted at in the movie. The first clear indication in the movie that his motivation was sexual was when Helen kissed him (I stand to be corrected here). He does not react until she leaves, when his erotic response was directed towards his ever-present camera, or perhaps more so towards what his camera represented. Mark considers himself to be a scoptophiliac and even tries to identify a possible therapy. He is a man obsessed, a victim of his compulsions and disturbed youth. However, he desperately fights to overcome these in the case of the 'final girl', Helen (Anna Massey) - for whom he feels genuine affection.
Pamela Green (Milly) is said to have reported, perhaps rather disturbingly, that Powell had his two young sons witness the filming of her 'nude' scene in the studio (not in the UK print). This reinforces the voyeuristic theme, the director as voyeur. Powell is watching his film being filmed, in which a film is shown portraying Powell and his family (as actors), who are the family of our primary voyeur Mark. He, in turn, films others in order to catch the ultimate height of emotion (fear) in his 'victims'/'actresses' faces, as the director himself Powell might do - and as we will ultimately witness ourselves on the big screen. One thing is clear, the principle voyeurs here are Powell and the audience. Perhaps this is what made and still makes the film so disturbing. It is certainly no 'slasher'. If anything, the film challenges the motivations of those drawn, like Mark, to filmed graphic and horrific scenes - scenes which are are largely absent from 'Peeping Tom'. Apart from the denouement, the horrors are largely suggested, rather than shown.
Thoroughly recommended. A compelling and thought-provoking film from a master of British film.
Mark Twitchett 07/20