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... (Full plot summary below)
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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 faces. At his house, he meets Helen Stephens, a young woman who lives with her blind mother in a downstairs flat. She visits his flat, where he shows her black-and-white films that were taken of him when he was a child. She is horrified to see that his father used him as a guinea pig in various experiments, taking movies of his reactions of fear.
Leave your thoughts about Peeping Tom.
| Edinburgh U Film SocietyKeith H. BrownCritics and audiences in 1960 were unprepared for Peeping Tom's relentless self-reflexive examination of the voyeurism and sadism explicit in the experience of watching movies. |
| San Francisco ChronicleEdward GuthmannToday, thanks largely to a 1980 revival engineered by Powell enthusiast and fellow director Martin Scorsese, Peeping Tom is rightly seen as a horror classic and sophisticated psychological journey. |
| New York Daily NewsJami BernardMichael Powell's Peeping Tom is the best movie ever made about the voyeuristic allure of making and watching movies. |
| Combustible CelluloidJeffrey M. AndersonContains the most lurid use of Technicolor ever. |
| Chicago Sun-TimesRoger EbertThe movies make us into voyeurs. We sit in the dark, watching other people's lives. It is the bargain the cinema strikes with us, although most films are too well-behaved to mention it. |
| Empire MagazineDavid ParkinsonOne of the first -- and still one of the best -- cinematic journeys into the mind of a psychopath. |
| Total FilmTom DawsonMisplaced critical vitriol torpedoed the original 1960 release of director Michael Powell's psycho-horror. Fifty years later, it's an undisputed British masterpiece. |
| Radio TimesTom HutchinsonA risk-all masterpiece from one of our greatest film-makers. |
| GuardianPeter BradshawIf anything deserves the "dark masterpiece" tag, this does: a brilliant satirical insight into the neurotic, pornographic element in the act of filming, more relevant than ever in the age of reality television and CCTV. |
| Chicago TribuneMichael WilmingtonIt still packs a wallop. Maybe that's because, in cinema, we're all peeping toms. And the camera, in skillful hands, can be an exquisite instrument of terror. |
