"I'm a real messy bitch. A liar. A scammer. I love robbery and fraud. I'm a messy bitch who lives…
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…
A mentally unstable young woman (Catherine Deneuve) is left alone by her sister in a London apartment, where her repressed sexual fears come fatally to life. Slow-burn thriller builds to a genuinely oppressive, terrifying and shattering climax; expertly directed, with brilliant, dazzling sound design and a breathtaking, haunting performance by Deneuve. I'd seen this on TV years ago, but seeing it on the big screen courtesy the fine folks at The Magnolia Theatre, it was like seeing it for the first time, discovering elements I'd not noticed before. Masterful.
Roman Polanski's English-language debut feels in many ways like a test-run for his first masterpiece, Rosemary's Baby, both films being preoccupied with a woman's deteriorating mental state in isolated circumstances. In this case, there is no supernatural source for the menace, merely a woman's unhealthy mind. It's a simple story, told in a vivid, memorable style. Catherine Deneuve, also beginning her intermittent crossover into English-language roles, is very good in the lead part, albeit one where you could probably fit most of her dialogue onto a cocktail napkin. If there's a real flaw to this production, it's the implausibility that Deneuve's Carol would have lasted this long without being committed to psychiatric care.
id punch roman polanski right in the mouth but this was an ok movie
Finally catching this for the 1st time, and on the big screen! It was worth the wait.
being home alone sux.
It's really just a movie about a woman going insane, but it's a really good movie about a woman going insane.
Everything about the filmmaking here is incredible - the framing of every shot, Deneuve's performance, the disgusting rabbit - it all works to create a powerful effect of uneasiness. It's incredible work, though I didn't find it particularly enjoyable except on a purely intellectual level. I could argue that Polanski has made a mistake in not making our protagonist more relatable...but I think I'm just finding excuses to justify my squeemishness.
True psychological horror.
"I get this ache... And I, I thought it was for sex, but it's to tear everything to fucking pieces."
films that are, in one way or another, about the discomfort of having a woman's body.
community list so suggestions…
Movies that are slightly off.