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Widescreen Editions Peeping Tom WS 1960 Criterion #156 Rare LaserDisc Thriller

Peeping Tom WS 1960 Criterion #156 Rare LaserDisc Thriller

Controversial Study on Violence almost Ruined Director

Peeping Tom WS 1960 Criterion #156 Rare LaserDisc Thriller

Controversial Study on Violence almost Ruined Director

Rare Widescreen, LaserDisc Movie Near-Mint LaserDisc and Jacket with edge and shelf-wear

$14.97

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Peeping Tom WS 1960 Criterion #156 Rare LaserDisc Thriller

Controversial Study on Violence almost Ruined Director

Rare Widescreen, LaserDisc Movie Near-Mint LaserDisc and Jacket with edge and shelf-wear

$14.97

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$14.97

Rare Widescreen, LaserDisc Movie

Near-Mint LaserDisc and Jacket with edge and shelf-wear

Michael Powell's...

Peeping Tom

Criterion Collection

( Catalog Number CC1299L )
(1.85:1) (2 Sides) (CLV) (NTSC)

LaserDisc Special Features

Best Version on LaserDisc
Audio Essay by Film Theorist Laura Mulvey
Liner Note by Mulvey
Color Bars
See the History of Criterion LaserDiscs at DaDon's...

Peeping Tom
1960 - 109 min. - Color
Genre: Horror
Not Rated
Country: USA

LaserDisc Movie Review:
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

It takes a pretty special film to destroy the career of one of Britain's greatest directors practically overnight, and Peeping Tom is just that sort of film. While its content isn't terribly shocking by today's standards (at least compared to the floodgates of gore opened by Blood Feast a few years later), psychologically Peeping Tom has lost little (if any) of its original, disturbing impact. Director Michael Powell, with tongue slightly in cheek, once described Peeping Tom as a film about a film fan, and behind Powell's jest lies the key to the film's impact. Mark Lewis (Karl-Heinz Boehm) is a murderous voyeur who obsessively films the deaths of young women (whom he stabs with the sharpened leg of a tripod); in the first few minutes, as we watch one woman's agonies through the viewfinder of Mark's camera, Powell forces us to watch Mark's crimes through his own eyes. And later, as Karl views the deadly images projected onto a screen in rapt silence, we see an unpleasant reflection of ourselves; if the appeal of the cinema is to a large degree voyeuristic, as the camera allows us to silently observe the lives of the figures on screen, then Mark Lewis is the ultimate extension of the ugly side of the filmgoing experience, taking erotic pleasure in the pain and fear of the people he films, and Powell is all too willing to indicate the audience's complicity as they follow Mark's actions. And while the standards of its day imposed certain limits on Powell, Peeping Tom doesn't shy away from a clear focus on the fetishistic voyeurism inherent in the story: Mark supplements his career as a focus puller by doing cheesecake photography (at a time when the legality of girlie magazines was still questionable in England); one bit of comic relief is pegged on a timid man's buying under-the-counter pornography from a tobacconist; and the U.K.'s most famous nude model of the day, Pamela Green, appears in a small role (the relative equivalent of, say, giving Linda Lovelace a supporting role in Frenzy). While Powell carefully documents the emotional conditions that made Mark what he is, he also clearly intimates that his twisted psyche merely amplifies (and distorts) the voyeuristic impulse that lurks in us all, making Mark Lewis unexpectedly sympathetic and the audience an unwitting accomplice in his crimes. While often compared to Psycho, another ground-breaking terror film of the same year, Peeping Tom is a more daring and audacious film tha

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Reviews, Articles, Newsletter and Information for Movies on LaserDisc LD Laser Disc, LazerDisc.

Cast for Peeping Tom

Karl Heinz Bohm - Mark Lewis
Moira Shearer - Vivian
Anna Massey - Helen Stephens
Maxine Audley - Mrs. Stephens
Shirley Ann Field - Diane Ashley
Esmond Knight - Arthur Baden
Jack Watson - Inspector Gregg
Bartlett Mullins - Mr. Peters
Michael Goodliffe - Don Jarvis
Brenda Bruce - Dora
Martin Miller - Dr. Rosan
Pamela Green - Millie
Nigel Davenport - Sgt. Miller
Susan Travers - Lorraine
Brian Worth - Assistant Director
Veronica Hurst - Miss Simpson
Miles Malleson - Elderly Gentleman
Keith Baxter - Baxter
Peggy Thorp-Bates - Mrs Partridge
John Barrard - Small Man
John Dunbar - Police Doctor
Roland Curram - Young Man Extra
John Chappell - Clapper Boy
Michael Powell - Mark's Father
Guy Kingsley Poynter - P. Tate the Cameraman

Crew for Peeping Tom

Michael Powell - Director / Producer
Leo Marks - Screenwriter
Otto Heller - Cinematographer
Brian Easdale - Composer (Music Score) / Musical Direction/Supervision
Noreen Ackland - Editor
Arthur Lawrence - Art Director
Arthur Lawson - Art Director
Albert Fennell - Associate Producer
Ivor Beddoes - Set Designer
Wally Stott - Choreography
Ted Sturgis - First Assistant Director
Gerry Turpin - Camera Operator
Malcolm Cooke - Sound/Sound Designer
Gordon K. McCallum - Sound/Sound Designer
C.C. Stevens - Sound/Sound Designer
Al Marcus - Production Manager

Feature Details

Title: Peeping Tom
Feature Release Date: 1960
Genre: Horror
Rating: Not Rated
Color: Color
Runtime: 109 Minutes
Chapters: 29
Picture: Letterboxed
Ratio: 1.85:1
Playback Format: CLV

IMDB Info...

Technical Details

LD Release Date: 23 Mar 1994
Catalog Number: CC1299L
UPC: 0715515002899
ISBN: 1-55940-244-X
Manufacturer: Pioneer USA
Collection: Criterion Collection
Publisher: Criterion

Diameter: 12"
Sides: 2
Cover: Jacket
Spoken Language: English
Country: USA
Video Format: NTSC

Model: CC1299L
Shipping Weight: 1 lbs
0 in Stock

Rare Widescreen, LaserDisc Movie

Near-Mint LaserDisc and Jacket with edge and shelf-wear

Michael Powell's...

Peeping Tom

Criterion Collection

( Catalog Number CC1299L )
(1.85:1) (2 Sides) (CLV) (NTSC)

LaserDisc Special Features

Best Version on LaserDisc
Audio Essay by Film Theorist Laura Mulvey
Liner Note by Mulvey
Color Bars
See the History of Criterion LaserDiscs at DaDon's...

Peeping Tom
1960 - 109 min. - Color
Genre: Horror
Not Rated
Country: USA

LaserDisc Movie Review:
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

It takes a pretty special film to destroy the career of one of Britain's greatest directors practically overnight, and Peeping Tom is just that sort of film. While its content isn't terribly shocking by today's standards (at least compared to the floodgates of gore opened by Blood Feast a few years later), psychologically Peeping Tom has lost little (if any) of its original, disturbing impact. Director Michael Powell, with tongue slightly in cheek, once described Peeping Tom as a film about a film fan, and behind Powell's jest lies the key to the film's impact. Mark Lewis (Karl-Heinz Boehm) is a murderous voyeur who obsessively films the deaths of young women (whom he stabs with the sharpened leg of a tripod); in the first few minutes, as we watch one woman's agonies through the viewfinder of Mark's camera, Powell forces us to watch Mark's crimes through his own eyes. And later, as Karl views the deadly images projected onto a screen in rapt silence, we see an unpleasant reflection of ourselves; if the appeal of the cinema is to a large degree voyeuristic, as the camera allows us to silently observe the lives of the figures on screen, then Mark Lewis is the ultimate extension of the ugly side of the filmgoing experience, taking erotic pleasure in the pain and fear of the people he films, and Powell is all too willing to indicate the audience's complicity as they follow Mark's actions. And while the standards of its day imposed certain limits on Powell, Peeping Tom doesn't shy away from a clear focus on the fetishistic voyeurism inherent in the story: Mark supplements his career as a focus puller by doing cheesecake photography (at a time when the legality of girlie magazines was still questionable in England); one bit of comic relief is pegged on a timid man's buying under-the-counter pornography from a tobacconist; and the U.K.'s most famous nude model of the day, Pamela Green, appears in a small role (the relative equivalent of, say, giving Linda Lovelace a supporting role in Frenzy). While Powell carefully documents the emotional conditions that made Mark what he is, he also clearly intimates that his twisted psyche merely amplifies (and distorts) the voyeuristic impulse that lurks in us all, making Mark Lewis unexpectedly sympathetic and the audience an unwitting accomplice in his crimes. While often compared to Psycho, another ground-breaking terror film of the same year, Peeping Tom is a more daring and audacious film tha

Thanks for Visiting DaDon's !

Reviews, Articles, Newsletter and Information for Movies on LaserDisc LD Laser Disc, LazerDisc.

Cast for Peeping Tom

Karl Heinz Bohm - Mark Lewis
Moira Shearer - Vivian
Anna Massey - Helen Stephens
Maxine Audley - Mrs. Stephens
Shirley Ann Field - Diane Ashley
Esmond Knight - Arthur Baden
Jack Watson - Inspector Gregg
Bartlett Mullins - Mr. Peters
Michael Goodliffe - Don Jarvis
Brenda Bruce - Dora
Martin Miller - Dr. Rosan
Pamela Green - Millie
Nigel Davenport - Sgt. Miller
Susan Travers - Lorraine
Brian Worth - Assistant Director
Veronica Hurst - Miss Simpson
Miles Malleson - Elderly Gentleman
Keith Baxter - Baxter
Peggy Thorp-Bates - Mrs Partridge
John Barrard - Small Man
John Dunbar - Police Doctor
Roland Curram - Young Man Extra
John Chappell - Clapper Boy
Michael Powell - Mark's Father
Guy Kingsley Poynter - P. Tate the Cameraman

Crew for Peeping Tom

Michael Powell - Director / Producer
Leo Marks - Screenwriter
Otto Heller - Cinematographer
Brian Easdale - Composer (Music Score) / Musical Direction/Supervision
Noreen Ackland - Editor
Arthur Lawrence - Art Director
Arthur Lawson - Art Director
Albert Fennell - Associate Producer
Ivor Beddoes - Set Designer
Wally Stott - Choreography
Ted Sturgis - First Assistant Director
Gerry Turpin - Camera Operator
Malcolm Cooke - Sound/Sound Designer
Gordon K. McCallum - Sound/Sound Designer
C.C. Stevens - Sound/Sound Designer
Al Marcus - Production Manager

Feature Details

Technical Details

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Peeping Tom WS 1960 Criterion #156 Rare LaserDisc Thriller

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