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Roman Polanski’s first English language film, made three years following the international acclaim for « Knife in the Water » and three years before his American masterpiece « Rosemary’s Baby, » is a trustworthy dissection of paranoia and sexual psychosis amidst contemporary culture, with a phenomenally subtle, provocative performance by Catherine Deneuve and camerawork so coldly actual that the panic seems to bloom naturally from the mundane landscape of the film. Deneuve plays Carole Ledoux, a Belgian beautician who lives in London with her frivolous sister. When the sister and her married boyfriend leave to vacation together in Italy, Carole begins to isolate herself in her apartment in a sexual and violent frenzy. The movie becomes more and more subjective as Polanski plunges into Carole’s mind and her psychoses, but what’s blooming about Polanski’s dissection of Carole’s consciousness is the blueprint that the director moves so brusquely from an unbiased perspective into his protagonist’s fears without bluntly heralding the transition. We’ve already become fraction of Carole’s awareness before we realize it. In this sense, « Repulsion » mirrors both Luis Bunuel’s « Belle de Jour » and « Un Chien Andalou » in its staunch, logical progression that expresses what is in fact illogical. The movie never feels like it’s caught up in dream logic whatsoever–it’s all starkly staunch and flat, until the scene reveals itself to be a subjective or illusory perception. This belief that Polanski can thrust us into the mind of his protagonist before we’re ever really aware of the fact that we’re in a subjective reality becomes more and more repugnant as the film progresses, making us complicit in the camera’s perspective. Horrible, too, is Deneuve’s ability to do us both stunned of Carole and for her; because Polanski and Deneuve craft Carole as an aggressor who perceives herself as a victim, « Repulsion » forces us (indeed, apt into its final frame) to reevaluate our relation to Carole and renders our situation as spectators horrifyingly uneasy. Polanski didn’t match this kind of expert craftsmanship until 1974 in « Chinatown »–itself one of the two or three greatest films ever made.
Repulsion is the mother of all psychological panic movies.Catherine Deneuve’s performance is worthy.Don’t inquire « halloween » type scares from this movie.This is about a radiant young woman who slowly loses her mind after her sister goes away on a waddle for a few days.The dismay of this movie comes from the cracks on the wall,cracks in the pavement,and a rabbit.So if you are a mammoth « weep » fan this probably isnt for you.I’m also a fan of the « halloween » type panic genre,but i’ve noticed many other fans of that kind unbiased dont seem to understand what psychological terror movies are all about.Therefore they might obtain repulsion unwatchable…probably for the same reasons I can peep it over and over.To be simple,if you’re looking for cheap scares stop far away from repulsion.But if you want the most wonderful psychological scare movie of all time then repulsion is for you.Besides, watching a stunningly splendid Catherine Deneuve slowly lose it and do some frightful things is glorious easy on the eyes.I despicable repulsion as my #1 all time alarm movie.
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