Amazon.co.uk Review
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 (the director 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, colourful 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 colour photography, documentary techniques and especially its uneasy connections between sex, violence and the cinema. We can thank Martin Scorsese for sponsoring its 1979 re-release, which presented the complete, uncut version to appreciative 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, Amazon.com

Peeping Tom – Criterion Collection

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Amazon.co.uk Review
One of Alfred Hitchcock’s classics, this romantic thriller features a cast to die for: Ingrid Bergman, Cary Grant and Claude Rains. Bergman plays the daughter of a disgraced father who is recruited by American agents to infiltrate a post-World War II spy ring in Brazil. Her control agent is Grant, who treats her with disdain while developing a deep romantic bond with her. Her assignment: to marry the suspected head of the ring (Rains) and get the goods on everyone involved. Danger, deceit, betrayal–and, yes, romance–all come together in a nearly perfect blend as the film builds to a terrific (and surprising) climax. Grant and Bergman rarely have been better. –Marshall Fine

Notorious

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‘In a lonely street': 1940’s Hollywood, film noir and the ‘tough’ thriller

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History of Film: Flashback, Phonofilm, Musical film, Crime film, Thriller , Film noir, 20th Century Fox, Documentary film, New Hollywood, Film … Formalist film theory, Experimental film

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Amazon.co.uk Review
Invasion of the Body Snatchers is considered one of the best science fiction films of the 1950s and 1960s. The classic paranoid thriller was widely interpreted as a criticism of the McCarthy era, which was characterised by anti-Communist witch-hunts and fear of the dreaded blacklist. Some hailed it as an attack on the oppressive power of government as Big Brother. However viewers interpret it, this original 1956 version of Invaders of the Body Snatchers (based on Jack Finney’s serialised novel The Body Snatchers) remains a milestone movie in its genre, directed by Don Siegel with an inventive intensity that continues to pack an entertaining wallop.

Dr. Miles Bennell (Kevin McCarthy) is unconcerned when the townsfolk accuse their loved ones of acting like emotionless impostors. But soon the evidence is overwhelming–Santa Mira has been invaded by alien “pods”, which are capable of replicating humans and taking possession of their identities. It’s up to McCarthy to spread the word of warning, battling the alien invasion at the risk of his own life. Look closely and you’ll find future director Sam Peckinpah (an uncredited cowriter of this film) making a cameo appearance as a meter reader! –Jeff Shannon

Invasion of the Body Snatchers

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