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New widescreen digital transfer, created from restored film elements and enhanced for widescreen televisions; Audio essay by renowned film theorist Laura Mulvey; Stills gallery of rare behind-the-scenes production photos; "A Very British Psycho," directed by Chris Rodley, about the life of screenwriter Leo Marks; Original theatrical trailer; English subtitles; Optimal image quality: RSDL dual-layer edition
Full Product DetailsSide #1 --
0. Chapters
1. Logos/"It'll be two quid" [3:14]
2. Opening credits [1:25]
3. The observer [1:49]
4. No crossword tonight [2:38]
5. "Fix it so the bruises don't show" [4:09]
6. Helen's birthday party [2:04]
7. "Could I see one of your films?" [4:01]
8. A growing child observed [10:47]
9. ."..the first take's okay" [2:24]
10. A date after hours [2:30]
11. The risks don't count [6:30]
12. Face of fear [4:23]
13. Mrs. Stephens and Helen [1:57]
14. Developing [4:53]
15. Rushes-"Must have some comedy" [2:33]
16. Never seen such fear [1:40]
17. A Completed documentary [6:54]
18. Mrs. Stephens meets Mark [2:49]
19. Surrendering the camera [1:57]
20. The magic camera at work [3:51]
21. "Take me to your cinema" [8:12]
22. Back at Tipperfield [2:22]
23. The morbid urge to gaze [3:06]
24. "Is it safe to be alone with you?" [4:19]
25. Helen enters Mark's world [4:09]
26. The most frightening thing in the world [3:35]
27. Only a camera [3:05]
Michael Powell's controversial meditation on violence and voyeurism effectively destroyed his career when it was first released, but later generations have come to regard it as a masterpiece. Karl Heinz Boehm stars as Mark, the son of a psychologist who kept a video journal of the boy's upbringing for research purposes. The constant intrusions profoundly affected the boy, who grew up to be a photographer himself; but his principal subject matter consists of women whom he murders before the camera. He then runs the films of his victims in their final throes so that he can study their reactions to death--a perverse extension of his father's experiments, which tormented Mark to analyze his reactions to raw fear. The British press had long been hostile to the unorthodox films of Powell and his partner Emeric Pressburger; when Peeping Tom came around, they used the film to castigate him as "sick" and tawdry. The passage of time has proven Peeping Tom as profound and accomplished as any of Powell's earlier films, and it ranks with Alfred Hitchcock's Rear Window (1954) and Vertigo (1958) as a landmark exploration of the links among voyeurism, violence, and male sexual desire. Powell himself plays the evil father in the flashback sequences, and his son Colomba plays Mark as a child. Hal Erickson, All Movie Guide