This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
The nightmare world of a virgin's dreams becomes the screen's shocking reality!
In Roman Polanski's first English-language film, beautiful young manicurist Carole suffers from androphobia (the pathological fear of interaction with men). When her sister and roommate, Helen, leaves their London flat to go on an Italian holiday with her married boyfriend, Carole withdraws into her apartment. She begins to experience frightful hallucinations, her fear gradually mutating into madness.
Part of Hoop-Tober
“I must get this crack mended.”
What we have here is a failure to communicate. Just as bad is the failure to observe. They are failures with which we all are overly familiar, whether we know it or not. Lost in a haze of tact and duplicity and feigned invulnerability and self-loathing, we keep what we think to ourselves. A wise and proper move at times; a misleading and destructive bit of stonewalling at others. And as we’re being selectively tight-lipped, we turn inward to consider what we should not consider sharing. Too focused on our navels to notice others' miscommunication and carefully chosen silence, to truly read between the lines and see them and their concerns.…
There is something uniquely intriguing about watching a talented filmmaker trying to find his footing in one of his first films, especially in a setting where he is in total control, namely the mind of his protagonist.
To me true horror comes in the shape of losing control. This film is about that and it is unrelenting in the terror that Catherine Deneuve suffers through. She is slowly losing her mind and that gradual process is depicted beautifully.
Polanski tenaciously tightens the screws and always keeps you as a viewer unaware when he is going to make a transition from the real world to Deneuve's delusions. These transitions are so smooth that they have a very unsettling effect. What struck…
This review may contain spoilers. I can handle the truth.
''I must get this crack mended.''
How does one portray the psychological manifestation of dementia cinematically with minimal funds and vast imagination? Well if you can achieve even half of what Roman Polanski does with his sophomore film, then you would be on the right track. With a slow-burn European sensibility, building atmosphere and tension before showing you it's hand, Repulsion has gone onto to be revered with the greats, despite Polanski's ambivalence towards the film: “Repulsion is the shoddiest—technically well below the standard I try to achieve.”, but this sounds like a man who remembers only the struggle to fight for funds to achieve his ultimate goal.
Throwing the viewer into the middle of the story with barely any…
Cracking walls; cracking pavement; cracking psyche.
What Roman Polanski and his crew do with sound here is just incredible. Obviously much of the praise for Repulsion’s intensely claustrophobic and at times truly horrifying atmosphere is due to the fidgety discomfort of Catherine Deneuve’s performance and the dark distortions of Gilbert Taylor’s cinematography, but what I couldn’t get over from the start of the movie to the end was the way it used sound to instill a haunting disquiet—and they way it pulls all the sound out of particularly horrifying scenes. Prolonged silence. A bell tolls too many times. Water drips incessantly from an unseen faucet. A woman’s frightened voice pierces through closed windows and doors, screaming from oblivion, voicing the…
Repulsion shows off a few skeletons.
Polanski established early in his career his knack for setting up tension. This movie has a supreme attention to detail. No clues are given at the start about where this movie may be heading, but you'll soon find yourself neck deep. Catherine Denevue supervises your stay in her cramped, deluded, surreal apartment. The stay gets stranger with time.
This is a movie that pushed boundaries. It is the first movie to feature a female orgasm that got by the British Board of Film Censors. It has a few scenes that must have had audiences walking out of the theater. Set mostly in a small apartment (Rosemary's Baby much?) this is so clearly a Roman…
The first hour or so makes up such a perfect anxiety nightmare that it bummed me out when it went a more typical (albeit eventful) route of "her madness is making her KILL!" The Polanski that made me squirm during mundane scenes in Rosemary's Baby purely through the power of his mise-en-scene is multiplied by five here, to the point where it got too much for me and I had to pause the movie to go do chores. Polanski's famous claustrophobic interiors find their counterpoint in this film's uneasy handheld exteriors, where pounding percussive jazz music assaults Catherine Deneuve and the audience and the entire world, it feels like.
Even as it gets more typically, fantastically, surreal by the end…
I liked it but damn was this slow.
Oh man, this movie doesn't mess around. It's totally creepy even before hands start coming out of the walls. Deneuve is fantastically unnerving, and the subtle (or not) shifts in the set dimensions leave a real impression (done a bit better in The Tenant). It's a shame that Gilbert Taylor is known primarily for Star Wars. This is a much, much more visually interesting film.
Such a unique film. Beautiful visuals and cinematography, as one can imagine of Roman Polanski. Definitely worth seeing.
Repulsion is a psychological horror about childhood trauma and mental illness. It's a slow burner about losing control with heavy symbolism, but little to no dialogue.
Despite the slow first third, Polanski is able to create extreme tension throughout. He perfectly portrays and paces our protagonist, Carole, losing her mind. Without words, Catherine Deneuve is capable of channeling her schizophrenic delusions. You really can't ask for a stronger lead.
My favorite moments were the super wide-angle shots that made you feel small in this debilitating apartment. Probably my only squabble is Polanski's experimentation with sound, especially the scenes without any sound at all. I can't help but think Carole's nightmare invasions would be more effective if there was sound to back it. Different strokes for different people, I guess.
Film #20 of May 2016 Scavenger Hunt
Task #15. A film about loneliness
Not as good as Rosemary's Baby, but I was entertained and creeped out a bit.
Totally flipping on the rating (between a 4 & 4.5), probs because I watched this stupidly (in chunks... turns out I watched, like, only the wind-up for a bit) or because I'm in a period of being tired of ratings in general. Thus I really only have a collection of light, mostly useless, notes on this (tho this didn't completely disarm my critical faculties like The Tenant did).
One of the most disturbing films ever, a level of pure nightmare Polanski would only reach in The Tenant and that scene of Macbeth. Polanski inhabits the space where two new waves meet, retaining his own style with all the remove of the Polish School while embracing a French New Wave approach to…
don't watch this film -you hadn't even expected to be scary really-
two days ago you've had this open comforting confronting talk with a new made friend about abuse/rape experience and then there is a guy living on the other side of your street who's been catcalling/watching you a lot lately - when you're coming home from a party looking for your keys in the dark - since voyeurism really became > a thing < since u started film studies - while he is smoking outside of his window when you're just in your own!! fkn!! safe!! house doing your daily shit without having curtains closed because you always want to see the stars and the moon and sleep in their…
catherine deneuve, what the fuck
also, genius camerawork
Movies that are slightly off.
"I'm a real messy bitch. A liar. A scammer. I love robbery and fraud. I'm a messy bitch who lives…