Fittingly, a film about voyeurism contains cinema’s first cameltoe.
Controversial British movie about a man who murders women and films their final moments. It bears some superficial similarities to the 1979 film Bloodline, but is far more successful. Though billed as a horror movie, it isn’t scary as such; it’s more creepy and psychologically disturbing. Its real strength lies in its ideas, its willingness to wallow in depravity (reminding me of David Fincher’s Se7en in that regard), and the utterly unpleasant lead performance from Carl Boehm. Some aspects are a touch simplistic (e.g. the Freudian stuff), but it all hangs together fairly well.
It’s easy to see why it would have caused such an uproar when first released, not only for its plot and subject matter, but for the matter-of-fact way in which the seediest parts of British society are depicted. The interpretation advanced by some critics that the whole film is a comment on horror filmmaking, and the voyeuristic position of the audiences of such films, is viable and intriguing. Recommended.