Peeping Tom - Criterion Collection
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DVD Cover Information
Actor: Brenda Bruce, John Barrard, John Dunbar, Karlheinz B?hm, Maxine AudleyBrand: Image Entertainment
Primary Contributor: Karlheinz B?hm
Primary Contributor: Anna Massey
DVD: 2 Layers, Region Code 1
Audio: English (Original Language), Dolby Digital 2.0 Mono; English (Subtitled)
Format: Anamorphic, Closed-captioned, Color, DVD-Video, NTSC, Special Edition, Widescreen
Picture Format: Anamorphic Widescreen, 1.66:1
Running Time: 101 minutes
DVD Release Date: 1999-11-16
Audience Rating: NR (Not Rated)
Studio: Criterion
Movie Reviews of Peeping Tom - Criterion Collection
Movie Review: 3 stars out of 4
Summary: 4 Stars
The Bottom Line:
A film that's not as good as its recent critical reevaluation suggests that it is, Peeping Tom is an effective-enough psychological horror film helped by Powell's innovative direction and hurt by Carl Boehm's incongruous German accent; it's no Psycho, but it's not bad either.
Summary of Peeping Tom - Criterion Collection
A frank exploration of voyeurism and violence, Michael Powell's extraordinary film is the story of a psychopathic cameraman-his childhood traumas, sexual crises, and murderous revenge as an adult. Reviled by critics upon its initial release for its deeply unsettling subject matter, the film has since been hailed as a masterpiece.Michael Powell lays bare the cinema's dark voyeuristic underside in this disturbing 1960 psychodrama thriller. Handsome young Carl Boehm is Mark Lewis, a shy, socially clumsy young man shaped by the psychic scars of an emotionally abusive parent, in this case a psychologist father (Michael Powell in a perverse cameo) who subjected his son to nightmarish experiments in fear and recorded every interaction with a movie camera. Now Mark continues his father's work, sadistically killing young women with a phallic-like blade attached to his movie camera and filming their final, terrified moments for his definitive documentary on fear. Set in contemporary London, which Powell evokes in a lush, colorful seediness, this film presents Mark as much victim as villain and implicates the audience in his scopophilic activities as we become the spectators to his snuff film screenings. Comparisons to Hitchcock's Psycho, released the same year, are inevitable. Powell's film was reviled upon release, and it practically destroyed his career, ironic in light of the acclaim and success that greeted Psycho, but Powell's picture hit a little too close to home with its urban setting, full color photography, documentary techniques, and especially its uneasy connections between sex, violence, and the cinema. We can thank Martin Scorsese for sponsoring its 1979 rerelease, which presented the complete, uncut version to appreciative American audiences for the first time. This powerfully perverse film was years ahead of its time and remains one of the most disturbing and psychologically complex horror films ever made. --Sean Axmaker
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