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Peeping Tom (The Criterion Collection)

4.0 out of 5 stars 104 customer reviews

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(Nov 16, 1999)
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Editorial Reviews

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.


Special Features

  • Production stills gallery
  • Channel 4 U.K. documentary A Very British Psycho directed by Chris Rodley

Product Details

  • Actors: Karlheinz Böhm, Moira Shearer, Anna Massey, Maxine Audley, Brenda Bruce
  • Directors: Michael Powell
  • Format: Anamorphic, Closed-captioned, Color, Special Edition, Widescreen, NTSC
  • Language: English (Dolby Digital 2.0 Mono)
  • Subtitles: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • Rated:
    NR
    Not Rated
  • Studio: Criterion
  • DVD Release Date: November 16, 1999
  • Run Time: 101 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (104 customer reviews)
  • ASIN: 0780022629
  • Amazon Best Sellers Rank: #67,525 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Peeping Tom (The Criterion Collection)" on IMDb

Customer Reviews

Top Customer Reviews

Format: Amazon Video Verified Purchase
Superior in every aspect -- and definitely misunderstood when released in 1960. Have to go with Susan Sontag when she described this film as the best statement ever made about the voyeurism of the camera -- so much here about misogyny in visual culture and so much more...not an easy film to watch by any stretch even though it is not at all graphic by modern standards; rather, having to watch/being implicated in the countless reaction shots in the film is genuinely uncomfortable and speaks to why Martin Scorcese rescued this film from oblivion in the early 80's and deemed it a masterpiece. Terrific performances throughout -- just a shame that this film effectively ended Michael Powell's career...
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It has been widely publicized that Michael Powell's PEEPING TOM rivals the masterful filming techniques of the great Alfred Hitchcock, and rightly so. In many ways, it is even more daring, subversive, and groundbreaking than many of Hitchcock's best, which were the same reasons it was panned by critics at the time of its release and unfortunately was the cause for Powell's retreat from the industry. Its characters are brilliantly written and set into play in an imperfect world with a seedy underbelly. PEEPING TOM finds young cameraman with a troubling past that uses a spiked tripod to slay his victims as he films their last moments of terror for his own personal enjoyment. His murderous and voyeuristic tendencies trickle in to his daily life as the cinematographer for a local movie shoot, and it isn't long before the police begin to take notice of his sordid affairs. Bohm's portrayal of Mark is only slightly offsetting, generally exhibiting a calm and disarming persona, but with very subtle cracks where he compulsively obsesses over his camera and folds when confronted with the truth. His sunken eyes and forced smile are just a human mask under which a soulless killer resides. There are very few moments where Bohm comes across as anything but a cold machine, and they are each drawn out of him by the unsuspecting Vivian. It is only fitting that Vivian's blind mother instinctually sees through Mark's charming exterior, using her other heightened senses in an equally intruding manner to out her daughter's reclusive suitor. This is also one of if not the first movies to use the subjective first-person perspective as shown through the eyes of the camera.Read more ›
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The term "Peeping Tom" suggests a minor voyeur peering beneath window shades, through augered holes, up skirts--a little sexual thrill. But in this film, a.k.a. The Face of Fear and The Fotographer of Panic, the culprit has a movie camera and yearns to capture the terrible face of each woman before he kills her. Later, he can watch the sick shameful thing on the movie screen in his flat.

The tom is played by Carl Boehm, blandly like a glass of warm milk fortified with invisible Botulinus toxin. Moira Shearer is killed off early, but not until she's done a looong sexy unballetic dance to hotstuff music from her tape machine. The climax of the film is a pile-on of effects, so excessive that Director Powell and the Editor must have been laffing up their sleeves. Powell and his son Columba (Bumba) appear in a black/white sequence of the film to good effect.

One is startled by the bare flesh of two women in the porny room, with rumpled recliner, above the tobacco shop. As one woman turns to the camera, we see a badly repaired harelip: a photo of disfigurement can be heart sickening, can't it? The other woman with a looong peroxided ponytail does, I'm told, appear nude in a full-length side shot, but I must have been looking for a mike boom shadow at the time.

The excellent Supplement, A Very British Psycho (50 mins, 1997), contains of course the hindsights of a number of critics. But the lightning bolt is Leo Marks(1920-2001), who wrote the screenplay. A cryptography genius, he recounts his activities in British service during WWII. They included writing a unique poem for each agent to memorize for application in encrypting messages.
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Format: Amazon Video Verified Purchase
An unconventional and often darkly funny serial killer flick from Michael Powell, the British director best known for THE RED SHOES. Powell is in total control of the viewer, a master craftsman carefully building tension, step by step, frame by frame. Karlheinz Böhm ("Carl Boehm"), in the lead role of Mark Lewis, creates sympathy for a damaged character while simultaneously unnerving the audience with his restrained German accent and blank, sociopathic facial expressions.
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By gatester on September 26, 2012
Format: VHS Tape Verified Purchase
Warners cut all shots of nudity, photographs which were looked at by Miles Malleson were cut. The scene where Mark kills Pamela Green was cut. Its kinda important to the story by revealing his compulsion to kill was uncontrollable. Pamela made alot of disparaging remarks to him earlier in the film so its possible the murder was revenge. WB also messed up the framing by cropping the movie. Homevision vhs has the correct AR. The color looks too colorful. Its unrealistic. The British VHS has the correct color. Lets face it ... we're lucky to even have a movie with Warners attitude towards it. CUTTING / FRAMING / COLORIZING all are Alterations to the movie. Unnecessary alterations.
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