Voyeur is the British version of The Psycho. "Voyeur" leans toward sex, "Psycho" leans toward violence. The source of "Voyeur" is the father, and the source of "Psychopath" is the mother. "Voyeur" ruined the director's life, "Psycho" avoided the limelight. The 1960 Stake To be exact, director Michael Powell's life changed on May 16, 1960. If his life ended on this day, he would still be one of the greatest directors in British film history and still influence a slew of filmmakers, including Martin Scorsese, who had already made enough of his fame. His early 15-film collaboration with Hungarian director Emery Pisberg won widespread acclaim, and his status remains unshakable when the two separated. The British media hardly ever criticized him. At the age of 56, if he chose to retire, he would be considered a complete success. But in the weeks after that day, he not only became the worst director, he lost his job forever. He did not choose to retire, but never had the opportunity to work well. This is the day that "Voyeur" is released in the UK. The newspapers of the day were filled with the disgust and rejection of the film by London critics, and there was hardly a single word of affirmation. Not only did they resent the film, they also condemned Michael Powell as a director of moral turpitude and poor quality. Caroline Lejeune of The Observer is a well-known British female critic. Her articles generally play a leading role in the critics, and she is the most active one in this criticism. She mercilessly directly sentenced the director and the film to death: "This is the most disgusting film I have ever seen." This is 1960. Michael Powell made the biggest bet in the history of cinema: he used all the accolades he had received to bet against British conservative thinking, and of course he failed. It was impossible for the British at that time to accept such a subject, and they were sincerely angry that a pervert treated a beautiful girl like this. However, the 1960s were a conservative age and a revolutionary age. While the critics were furious, none of them noticed that their thinking was changing. The way of thinking in Michael Powell's films is not dampened by comments, but rather inspired. Meanwhile, on the other side of the Atlantic, another British-born director was trying a similar revolution. But he was luckier. Although the American critics also sneered at his film, the audience liked it very much. They were so crazy that they wanted to dispatch the police to maintain order. So when this book is called "Spiritual When the film The Sick Doctor came to the UK for its premiere in August 1960, Caroline LeJune of The Observer began to suspect that cultural trends had changed, so she took a less firm stance and just said Just a few words that you don't agree with Hitchcock and you're done. Decades later, her remarks at the time have become insignificant, and the two directors' consideration of the script, actors, and stories, as well as the significance of the two works to future generations, has become a topic of discussion. The story determines all the two directors are attracted by the story. After Hitchcock read this novel by Robert Bullock for the first time, he gave the people around him an important task: to buy back all the "Psychiatrists" in the United States, and buy as many copies as he found. Nor can it fall. He didn't want to treasure it, but he didn't want anyone to read the story again. If the director reads it, they will rush to shoot with him, and if the audience reads it, they will know the plot. So he did a good job of keeping strict confidentiality, bought the copyright as quickly as possible, and began to talk to people from Paramount about his movie plans. He's confident because he can be 200 percent sure, it's an unparalleled script. But when he was so enthusiastic about telling the story to the studio people, they shook their heads. Nobody likes it, they don't like the title, the plot, the characters. Any detail in it made their appetite. Of course Hitchcock wouldn't do it. He thought it was worth filming just for the bathroom scene. He just wanted to see what kind of impact the heroine would have on the audience if she suddenly died in the middle of her performance. He was taken aback when he saw this himself, so he decided to transfer his surprise to the wider audience. One hundred people at Paramount were unwilling, but they couldn't fight the fat director in front of them, so they coldly agreed. But they don't pay him to make color movies, they don't give him big-name actors like Cary Grant, Jimmy Stewart, they don't even provide a good venue, they can't cost more than a million, and they pour him A pot of cold water: "You must be mentally prepared, it is impossible to have a good box office." Michael Powell was not so stimulated before shooting, because of his reputation, many conditions are that as long as he mentions it, he will There will be. From encountering the script to deciding to start filming, everything was in order and completely belonged to the British gentleman's style. He met playwright Leo Marquez in a restaurant, and the two exchanged praises before getting to the point. Leo Max politely asked: "Mr. Powell, if there is a story about killing people with a camera, would you be interested in making a movie?" Powell was vaguely aware of this The idea is unique and applauded. Later, after listening to Max's explanation, he also went to read the information, only to realize that this is not an ordinary horror movie. He'd always wanted to make movies like "Vampire," "Frankenstein," and "The Mummy," but after reading the script, he felt that he could achieve this without creating a terrifying monster image, even cleverly beyond the achievements of these films. He liked this unconventional approach, and gave up his previous idea of shooting a gothic horror film and entered the field of psychoanalysis. A few days later, he said to Max: "Then call it "Voyeur". Max showed a horrified expression, and he repeatedly said that he could not use this name, because the critics would definitely misunderstand and criticize this as a movie with extremely bad influence. movie of. And the audience positioning is also a problem, some people will think this is a pornographic film, and they will stay away from it, and those who want to watch this film will see it as pornographic... Michael Powell doesn't care, listen to him Having said that, he strengthened his thoughts and threw out the words: "It doesn't matter, there are always a few viewers who don't want to be wrong." Actor who made mistakes again and again Unfortunately, Max was right. The reason why Michael Powell was attacked was not only the subject matter, but also the character. If Carl Heinz Byrne, who plays the serial killer, hadn't been so pitiful and had been a little more vicious, things might not have been so bad. But Michael Powell never wanted to make the protagonist act more like a murderer, and hoped to arouse the audience's sympathy for the "perverted killer" through his performance. Therefore, he gave up famous actors including Lawrence Harvey and Dirk Bogard, saying that he must find an actor who perfectly fits the character's temperament before giving up. Finally, Carl Heinz Byrne's performance inspired him how to further dig the essence of the film and analyze the psychological state of a serial killer in a more detailed and profound way. After confirming the choice of serial killer Mark, his choice of other actors was "wrong and wrong". He cast his 9-year-old son as the serial killer's childhood in the film and himself as his father obsessed with "spying fear." In the film, the director puts the lizard on his son's bed to scare him, captures every scene of his son crying in fright, and enjoys it. The critics are going crazy when they see it. They got the hang of it right away, and it couldn't be easier to target the director's morality. Not only do you let others act, but you also need to show yourselves, everyone can see that you have ulterior motives! It was Moira Shearer who completely broke the audience. In 1948, Michael Powell and Emery Pisberg's "Hong Lingyan" was a huge success, and it also laid the foundation for these two As a director, Moira Shearer's graceful dance moves will never be forgotten, and since then she has become a beloved ballet god. But what the audience never expected was that this elegant woman would suffer a tragic death in the film - Mark stabbed her in the throat with a sharp bayonet, she was terrified, and was put in a wooden box after her death , Mark calmly took pictures of all this and went home to play. Critics agreed that the director tried to destroy Moira Shearer's image in their minds, and Michael Powell was to blame. On another set, Hitchcock was smug about his choice of actor, Anthony Perkins. His appearance did Hitchcock a big favor. The studio didn't like the novel in the first place, especially the killer Norman Baez, which made Joseph Stefano, who adapted the novel into a screenplay at the time, disheartened. But when Hitchcock mentioned the name Anthony Perkins, Stefano's inspiration suddenly came out. He knows how to portray this innocent killer while keeping girls hooked on him. Having settled on Anthony Perkins, they knew how to attract an audience. The most excited is Hitchcock, who is excited to think how badly the audience will be deceived: first they will be disturbed by the greedy heroine, and then shocked to see that she is so dead, then When they came down, they all thought Norman Baez was just a poor child of Oedipus, and they all thought the killer was his mother, but what they saw in the end was a skeleton... He also secretly discussed with the playwright, and it must not be seen by the crew. The last few pages, once they knew it, had to stay on set to prevent the ending from being revealed. The voyeur in Psycho "The Psycho makes the audience a voyeur." - Hitchcock On the subject, the two films are extremely connected. peeping A more academic term for tom is Scopophilia, which, like schizophrenia in the end credits of The Psycho, is also a mental disorder. In fact, this is a sexual act, and people with this hobby like to gain sexual pleasure by spying on others. Mark and his father in the film are both victims of this condition. Mark's father likes to scare his son with lizards, or wake him up, and then film his terrified appearance for his own aftertaste. And Mark hides this sharp bayonet in the tripod of the camera. The expression of a woman in fear can arouse his sexual desire, so he is keen to photograph it all and ponder it alone. However, when we saw Mark in the movie watching the 16mm murder images with great interest, the audience unconsciously joined the voyeur team and became a voyeur other than a voyeur. In comparison, Michael Powell pays more attention to the "sex" aspect, which also makes his films bolder and becomes a bigger target, while Hitchcock focuses on "shock", his biggest purpose is almost to make The audience was surprised, so they didn't think to dig too deep. Interestingly, Michael Powell showed the "Electra complex" (ie, the Electra complex), while Hitchcock showed the "Oedipus complex" (ie, the Oedipus complex), both of which are exactly the same. Two quintessence of Lloyd's theory. Although the two big directors didn't know what movie the other was making, Hitchcock also had his own considerations for the "voyeur" plot. Norman Baez's room has a small hole, which is used to spy on the every move of the next-door tenant. Almost everyone, including the audience, the director, the crew, Norman Baez, became part of the voyeur while filming "Bathroom Murder." Janet Lee, the heroine who plays Marianne, is under pressure to be voyeurized on and off screen, especially off screen. She later recalled: "I knew very well that the whole crew was spying on me. I lay there naked and they watched me." It was a difficult time in her life, and she was very, very nervous and She is shy and insists on covering her important parts with cloth strips. Hitchcock was about to worry about death. In order to ease Janet Lee's shyness, he paid $500 to hire a strip girl in Las Vegas, saying that if the filming couldn't be done, he would have to use her as a stand-in. But after Hitchcock finished speaking, he backtracked and insisted that she overcome her own psychological barriers and photographed her in 78 different angles. Janet Lee sometimes felt like she was surrounded by a group of voyeuristic perverts, and almost broke down, Hitchcock said to her: "Come on, haven't we seen enough on the beach? ? After the belated endorsement of "The Psycho", Michael Powell went to see it. He was being attacked round after round, no one was giving him any more money to make movies, his future was bleak, and he knew that his reputation was over. It was destroyed, but when he saw "The Psycho", his eyes were still bright, and he expressed his admiration for this British director Hitchcock, who was connected with him and had a freer cultural environment. "It seems that I am not smart enough. , I didn't expect him to make such a film so humorous. "Michael Powell envied him from the bottom of his heart, watching him dismiss a few critical remarks from the British media, fulfilling his wish to shock the audience, and energetically completing his next classic The Birds ”. And as the director of the deeper “Voyeur”, who should have received greater honors, began to struggle through a gray life. The spitting critics masked some necessary voices. Not all Everyone was of the same opinion. Some of the filmmakers at the time saw Voyeur and saw its value and decided to give it back its rightful place. Among them was Martin Scorsese. He He is a loyal fan of Michael Powell, he loves "Hong Lingyan" and likes many of his works. He knows the ignorance of the critics, and regards "Voyeur" as the textbook film that has the greatest influence on him. Rini's "Eight and a half" has everything about the image explained. He and others deeply influenced by Powell's work have restored "Voyeur" and re-released in 1979. It is almost eighty Of course, the UK in the 1990s is no longer as conservative as it used to be, but after all, nearly two decades have passed. Even if people hope that the director will take the lead again and make a more classic film, it is difficult for Powell to have this energy anymore. Now that the film has regained recognition is his greatest consolation. His loyal friend Martin Scorsese introduced him to his long-time film editor Thelma Huynmaker, and Powell reaps the rewards in his later years. A beautiful love affair. He died in 1990, at that time he was hailed as one of the greatest directors in the world, "Voyeur" was listed as the most important film in British history, and he knew it was bound to happen Arrived, but I didn't expect it to be a full thirty years late. , expressing his admiration for this British director Hitchcock, who has a more free cultural environment with him. "It seems that I'm still not smart enough. I didn't expect him to make such a film so humorous." Michael Powell envied him from the bottom of his heart, watching him dismiss a few criticisms of the British media, and he realized that he could bring the audience to the audience. The desire to be shocked, and energetically to complete his next classic "The Birds". As the director of the more in-depth "Voyeur", he should have won more honors, but he began to live a gloomy life with difficulty. The spitting commentary muffled some necessary voices. Not everyone was of the same opinion, and some filmmakers at the time saw Voyeur and realized its value and decided to return it to its rightful place. Among them was Martin Scorsese. He is a loyal fan of Michael Powell. He loves "Hong Lingyan" and likes many of his works. He knows the ignorance of the critics, and regards "Voyeur" as the textbook film that has influenced him the most, and believes that this film and Fellini's "Eight and a Half" have explained everything related to images thoroughly. He and others heavily influenced by Powell's work restored Voyeur for a re-release in 1979. The United Kingdom, which is about to enter the 1980s, is of course no longer as conservative as before, but after all, nearly two decades have passed. Even if people hope that this director will take the lead again and make a more classic movie, Powell will hardly have any more. This energy. Now that the film has regained recognition, it is already the greatest comfort to him. His loyal friend Martin Scorsese introduced his long-time film editor Thelma Huynmaker to him, and Powell gained a beautiful love in his later years. He died in 1990, at that time, he was touted as one of the greatest directors in the world, "Voyeur" was listed as the most important film in British history, he knew it was bound to come, but he didn't expect it It was a full thirty years late. , expressing his admiration for this British director Hitchcock, who has a more free cultural environment with him. "It seems that I'm still not smart enough. I didn't expect him to make such a film so humorous." Michael Powell envied him from the bottom of his heart, watching him dismiss a few criticisms of the British media, and he realized that he could bring the audience to the audience. The desire to be shocked, and energetically to complete his next classic "The Birds". As the director of the more in-depth "Voyeur", he should have won more honors, but he began to live a gloomy life with difficulty. The spitting commentary muffled some necessary voices. Not everyone was of the same opinion, and some filmmakers at the time saw Voyeur and realized its value and decided to return it to its rightful place. Among them was Martin Scorsese. He is a loyal fan of Michael Powell. He loves "Hong Lingyan" and likes many of his works. He knows the ignorance of the critics, and regards "Voyeur" as the textbook film that has influenced him the most, and believes that this film and Fellini's "Eight and a Half" have explained everything related to images thoroughly. He and others heavily influenced by Powell's work restored Voyeur for a re-release in 1979. The United Kingdom, which is about to enter the 1980s, is of course no longer as conservative as before, but after all, nearly two decades have passed. Even if people hope that this director will take the lead again and make a more classic movie, Powell will hardly have any more. This energy. Now that the film has regained recognition, it is already the greatest comfort to him. His loyal friend Martin Scorsese introduced his long-time film editor Thelma Huynmaker to him, and Powell gained a beautiful love in his later years. He died in 1990, at that time, he was touted as one of the greatest directors in the world, "Voyeur" was listed as the most important film in British history, he knew it was bound to come, but he didn't expect it It was a full thirty years late. After seeing "Voyeur", some filmmakers of the time realized its value and decided to return it to its rightful place. Among them was Martin Scorsese. He is a loyal fan of Michael Powell. He loves "Hong Lingyan" and likes many of his works. He knows the ignorance of the critics, and regards "Voyeur" as the textbook film that has influenced him the most, and believes that this film and Fellini's "Eight and a Half" have explained everything related to images thoroughly. He and others heavily influenced by Powell's work restored Voyeur for a re-release in 1979. The United Kingdom, which is about to enter the 1980s, is of course no longer as conservative as before, but after all, nearly two decades have passed. Even if people hope that this director will take the lead again and make a more classic movie, Powell will hardly have any more. This energy. Now that the film has regained recognition, it is already the greatest comfort to him. His loyal friend Martin Scorsese introduced his long-time film editor Thelma Huynmaker to him, and Powell gained a beautiful love in his later years. He died in 1990, at that time, he was touted as one of the greatest directors in the world, "Voyeur" was listed as the most important film in British history, he knew it was bound to come, but he didn't expect it It was a full thirty years late. After seeing "Voyeur", some filmmakers of the time realized its value and decided to return it to its rightful place. Among them was Martin Scorsese. He is a loyal fan of Michael Powell. He loves "Hong Lingyan" and likes many of his works. He knows the ignorance of the critics, and regards "Voyeur" as the textbook film that has influenced him the most, and believes that this film and Fellini's "Eight and a Half" have explained everything related to images thoroughly. He and others heavily influenced by Powell's work restored Voyeur for a re-release in 1979. The United Kingdom, which is about to enter the 1980s, is of course no longer as conservative as before, but after all, nearly two decades have passed. Even if people hope that this director will take the lead again and make a more classic movie, Powell will hardly have any more. This energy. Now that the film has regained recognition, it is already the greatest comfort to him. His loyal friend Martin Scorsese introduced his long-time film editor Thelma Huynmaker to him, and Powell gained a beautiful love in his later years. He died in 1990, at that time, he was touted as one of the greatest directors in the world, "Voyeur" was listed as the most important film in British history, he knew it was bound to come, but he didn't expect it It was a full thirty years late.
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