"Peeping Tom"
Michael Powell, 1960

When Mark befriends a fellow tenant named Helen, however, he begins to open up and, at her behest, show her some of his films. Whether or not the well-meaning, if slightly naive, Helen is ready to accept his dark secrets is an entirely different matter. This film bares some comparison to Hitchcock's thriller, "Psycho," which was released only two months later. Shot with Eastman color stock, "Peeping Tom" features unusually rich visuals, and Michael Powell's use of lighting, with its deep shadows and beautiful array of colors, is impeccable. "Psycho," which was shot on black-and-white stock, has visuals that are equally striking, but its monochromatic visuals create a bleak atmosphere that hints at the way the film's psychopath, Norman Bates, views his world; everything is either dead-or-alive, black-or-white, with no room for discrepancy.
Both films center around very creepy individuals, but "Psycho" is more successful as a work of suspense; Bates, because of Anthony Perkins's performance and Hitchcock's bleak atmosphere, is a terrifying and volatile presence. Mark simply isn't as compelling or frightening a figure, in comparison. And then there are the weak aspects of "Peeping Tom," some questionable acting by the extras, a few awkwardly staged dialogue exchanges, and a tedious narrative concerning the police's investigation of the murders. I still find "Peeping Tom" to be a good companion piece to "Psycho," but then again, I, like Helen, have always been a sucker for pretty photography.
Rating: 7.5
First Viewed: 7/30/08, on DVD
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