<description>&lt;p&gt;When Martin Scorsese brought&amp;nbsp;Michael Powell’s&amp;nbsp;&lt;em&gt;Peeping Tom&lt;/em&gt;&amp;nbsp;back from its longtime purgatory, the word on the street&amp;nbsp;was that&amp;nbsp;it&amp;nbsp;was a piece of transgressive cinema from an acclaimed director, *before* &lt;em&gt;Psycho&lt;/em&gt;, which caught a lot of hell it didn’t deserve, and largely ended its creator’s&amp;nbsp;career.&lt;/p&gt;
&lt;p&gt;What lingers about &lt;em&gt;Peeping Tom&lt;/em&gt; is its sense of tragedy: its betrayal of trust. The&amp;nbsp;magnificently dramatic collision of Anna Massey’s devoted and naive&amp;nbsp;Helen, and&amp;nbsp;Karlheinz Bohm’s Mark, an introverted, outsider (literally, he’s from another country) with a&amp;nbsp;psychotic urge&amp;nbsp;instilled&amp;nbsp;in him by his father.&lt;/p&gt;
&lt;p&gt;&lt;em&gt;Peeping Tom &lt;/em&gt;wasn’t created with&amp;nbsp;broad appeal in mind. When you get right down to it, &lt;em&gt;Peeping Tom&lt;/em&gt; is essentially a rebellious statement made at a turning point in Powell’s career. It’s an obliteration of expectations; and career-wise a costly one.&lt;/p&gt;
&lt;p&gt;On this episode of Captive Eye (formerly Diabolique Webcast), writer/producer/director J. P. Ouillette and Prof. David Kleiler join me to discuss director Michael Powell’s intriguingly meticulous 1960 classic.&lt;/p&gt;
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When Martin Scorsese brought&nbsp;Michael Powell’s&nbsp;Peeping Tom&nbsp;back from its longtime purgatory, the word on the street&nbsp;was that&nbsp;it&nbsp;was a piece of transgressive cinema from an acclaimed director, *before* Psycho, which caught a lot of hell it didn’t deserve, and largely ended its creator’s&nbsp;career.
What lingers about Peeping Tom is its sense of tragedy: its betrayal of trust. The&nbsp;magnificently dramatic collision of Anna Massey’s devoted and naive&nbsp;Helen, and&nbsp;Karlheinz Bohm’s Mark, an introverted, outsider (literally, he’s from another country) with a&nbsp;psychotic urge&nbsp;instilled&nbsp;in him by his father.
Peeping Tom wasn’t created with&nbsp;broad appeal in mind. When you get right down to it, Peeping Tom is essentially a rebellious statement made at a turning point in Powell’s career. It’s an obliteration of expectations; and career-wise a costly one.
On this episode of Captive Eye (formerly Diabolique Webcast), writer/producer/director J. P. Ouillette and Prof. David Kleiler join me to discuss director Michael Powell’s intriguingly meticulous 1960 classic.

Captive Eye

Peeping Tom (1960)

Peeping Tom (1960)

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