Se empeña en captar la representación pura del terror por lo que necesita registrar compulsivamente todas y cada una de las expresiones de sus víctimas. Engaña a jóvenes para que se pongan delante de su cámara y asesinarlas delante de su objetivo para observar la agonía en su cara. Prácticamente la cámara es un arma.
Esta obra nos incluye en un juego perverso: el protagonista de la película observa a sus víctimas en el momento que las filma y nosotros los espectadores, lo vemos a él.
Comenzando la película, el personaje sigue a una prostituta en una calle que a nuestros ojos se percibe como un decorado, luego sigue un plano subjetivo donde se nos muestra lo que ve el sujeto. De pronto, el encuadre intercala la imagen de la mujer tal como es captada a través de la cámara del protagonista; y luego de que es asesinada, se vuelve a ver la misma escena pero en la pantalla grande de una sala oscura, en la cual el protagonista disfruta viendo la filmación.
La secuencia final hace hincapié en el misterio de cómo aterrorizaba a sus víctimas.
Michael Powell, (el director de la película), actúa como el padre torturador de su hijo que lo filma constantemente, y a su vez el propio hijo de Powell hace el papel de protagonista cuando este era niño.
Los propósitos de Mark Lewis se verán afectados por la aparición de lazos afectivos con su vecina Helen, la cual revive en él sentimientos bondadosos e infantiles.
La película fue dirigida por Michael Powell siendo sus artistas principales Karlheinz Böhm (Mark Lewis), Anna Massey (Helen Stephens) , Moira Shearer (Vivian), Maxine Audrey (Mrs. Stephens) y Brenda Bruce (Dora) .
Entre líneas, se nos muestran detalles sobre el mundo del cine, cámaras viejas, una sala de proyección privada, un set de grabación, entre otros. La ambientación nos mete de lleno en la historia, nos traslada al mundo de hacer películas, pero eso sí muy perversas.
Igualmente, destaca la iluminación, sus sombras, su saturación de tonalidades. La banda sonora eleva la tensión en momentos claves creando la sensación de suspenso que acompañan las acciones de los actores.
Junto a Psicosis de Alfred Hitchcock, está película se considera una de las pioneras en del género denominado Slasher, en las que se nos presenta la figura de un asesino en serie desligado de cualquier aspecto fantástico.
Inicialmente, la película fue masacrada por crítica y público cuando se estrena el 31 de marzo de 1960. Casi veinte años después, fue recuperada y relanzada por el famoso cineasta Martín Scorsese.
Esta película influenció a otras: Holocausto caníbal (Ruggero Deodato, 1980); Blow out (Brian de Palma, 1981); Repulsión (Roman Polanski, 1965); Átame (Pedro Almodóvar, 1990); Tesís (Pedro Almodóvar, 1997); One from the heart (Francis Ford Coppola, 1982).
Es un film altamente recomendable, una joya de culto que en su momento no fue entendida y dilapido la carrera de su director Michael Powell uno de los mejores del Reino Unido, conocido por las películas: Las Zapatillas Rojas y Narciso Negro.
Me pregunto, ¿por qué el protagonista obsesionado con el estudio del miedo y el terror sólo ataca mujeres?.
Gracias comunidad por leer la presente publicación. Veamos cine de culto. Hasta una próxima oportunidad.
Fuente de la primera imagenFuente
English Version
Voyeurism is a mental disorder in which the person presents a sensation of pleasure when observing another person in intimate situations. In this film, it is a means that the patient uses to cover up past traumas. In general terms, it is referred to as a "voyeur". The protagonist shows traits of shyness, he hides to observe others. Mark Lewis is a photographer employed in the movie business and, in his spare time, a photographer of pornographic images for a small and modest kiosk. He is obsessed with the continuation of an audiovisual study on fear initiated by his father, of which, since childhood, he was a victim, and subject of study.
He is determined to capture the pure representation of terror and therefore needs to compulsively record each and every expression of his victims. He tricks young girls into standing in front of his camera and murdering them in front of his lens to observe the agony on their faces. The camera is practically a weapon.
This work includes us in a perverse game: the protagonist of the film observes his victims as he films them and we, the spectators, see him.
At the beginning of the film, the character follows a prostitute in a street that to our eyes is perceived as a set, then follows a subjective shot where we are shown what the subject sees. Suddenly, the frame intercuts the image of the woman as she is captured through the protagonist's camera; and after she is killed, the same scene is seen again but on the big screen of a dark room, where the protagonist enjoys watching the footage.
The final sequence emphasizes the mystery of how he terrorized his victims.
Michael Powell, (the film's director), stars as the torturing father of his son who constantly films him, and in turn Powell's own son plays the role of the protagonist when Powell was a child.
Mark Lewis' purposes will be affected by the appearance of affectionate ties with his neighbor Helen, who revives in him kind and childish feelings.
Fuente
The film was directed by Michael Powell and its main artists are Karlheinz Böhm (Mark Lewis), Anna Massey (Helen Stephens), Moira Shearer (Vivian), Maxine Audrey (Mrs. Stephens) and Brenda Bruce (Dora).
Between the lines, we are shown details about the world of cinema, old cameras, a private screening room, a recording set, among others. The setting gets us fully into the story, takes us to the world of filmmaking, but very perverse.
Likewise, the lighting, its shadows, its saturation of tonalities stand out. The soundtrack heightens the tension at key moments, creating a sense of suspense that accompanies the actions of the actors.
Along with Alfred Hitchcock's Psycho, this film is considered one of the pioneers of the Slasher genre, in which we are presented with the figure of a serial killer detached from any fantastic aspect.
Initially, the film was massacred by critics and audiences when it was released on March 31, 1960. Almost twenty years later, it was recovered and re-released by the famous filmmaker Martin Scorsese.
This film influenced others: Cannibal Holocaust (Ruggero Deodato, 1980); Blow out (Brian de Palma, 1981); Repulsion (Roman Polanski, 1965); Atame (Pedro Almodovar, 1990); Thesis (Pedro Almodovar, 1997); One from the heart (Francis Ford Coppola, 1982).
It is a highly recommended film, a cult gem that at the time was not understood and squandered the career of its director Michael Powell one of the best in the UK, known for the films: The Red Shoes and Black Narcissus.
I wonder why the protagonist obsessed with the study of fear and terror only attacks women.
Thank you community for reading this post. Let's watch cult cinema. Until next time.
English is not my mother tongue, so I use the translator DeepL.
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Well articulated review mate!
Although I like the film, I'm not overwhelmed by it and I think I would side with the contemporary critics with this one, but, true, its cult significance cannot be forgotten.
Thanks for the comment and for sharing your opinion. I made an unintentional mistake, the film Thesis is by Alejandro Almenabar, not Pedro Almodovar. These cult films should be valued, many of them nowadays seem naive and harmless but in their time of release some caused controversy and others were taken into account by few people. This is cult cinema.
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