Repulsion
Roman Polanski’s Repulsion (1965) is one of a handful of movies worthy of consideration as the greatest horror movies of all time. It merits this status due to an intelligent blend of skillfully delivered shocks, a pervasive sense of claustrophobia, and an uncompromising commitment to ambiguity.
Repulsion is a deceptively simple film. A young girl, Carol, who seems out of synch with the world around her, is left alone in the apartment she shares with her sister when her sister goes on a two week holiday with her married boyfriend. Left alone, Carol slowly descends into madness, with tragic consequences.
Like some other great horror films, Repulsion establishes a sense of dread and dislocation from the opening shots. It’s clear that Carol (brilliantly portrayed by the beautiful Catherine Deneuve) is not quite right. But it isn ‘t until she is left alone that eccentricity devolves into hallucinogenic madness. The walls come alive, she is assaulted by imaginary figures, and the apartment itself degenerates along with her mind.
Repulsion was originally intended as a exploitation shocker, but it was transformed when Roman Polanski was hired to direct. He co-wrote the script and insisted that Gilbert Taylor be brought in as Cinematographer. Taylor, who had done brilliant black and white work on Dr. Strangelove (1964) brought the same masterful use of shadow and light to Repulsion.
Perhaps the best thing about Repulsion is that Polanski refuses to explain Carol’s madness and that he does little to make her a sympathetic figure. She is neither a cartoonish raving maniac nor a victim of some past trauma; she is merely alien, out of step with the world around her and devoid of normal emotional reactions.
Like Peeping Tom (1960) and Psycho (1960), Repulsion rises above its exploitation foundation to deliver shocks and chills, but also to leave indelible images of horror behind in the mind of the viewer.
Tags: Catherine Deneuve, Peeping Tom, Psycho, Repulsion, Roman Polanski
