Like Repulsion, the influence of Psycho looms large over this. However, while Polanski seemed liberated by his origins in exploitation, Preminger still has one foot tied to the Hollywood system. It creates an odd mix of the modern (the transgressive) & the old-fashioned (the moralistic). It's beautifully photographed & suitably atmospheric, & survives thanks to a largely compelling mystery & some strong performances.
Preminger is an academic filmmaker with a twist. There is always a glimpse of perversion that informs his aesthetics, making them less palatable and stronger than most. With that being said, Bunny Lake is an underwhelming addition to the thriller genre. The last 10 minutes have a certain brilliance to it and a remarkable control of pacing and mise-en-scène, but the whole lacks cohesion.
The curious terror of the Little People's Dancing Room! One of the most quietly perverse films I've ever seen. Almost deliciously queazy. I should so like to read Miss Ford's book on childhood phantamagoria. Melanie Kline could have written the foreword. As for the book I'm currently reading, 'Bunny Lake' chimed very well with Agatha Christie's contemporaneous 'They Do It With Mirrors'.
Well crafted and highly atmospheric psychological thriller. There's a particularly dark portrayal of English eccentricity and a London setting where everything is either disturbed or operating at the edge of psychosis. This all heightens the sense of suspense as we try to work out where the madness truly lies. Solid performances and some cracking cameos - my favourite being a disgustingly lascivious Noel Coward.
A slick & bizarre thriller courtesy of ever excellent Otto Preminger. From Saul Bass's revealing opening credits to Olivier's wise & weathered detective, all the way through to the Zombies pub appearance; there's never a dull moment to be found. Arguably the film's excellence stems from Denys N. Coop's roaming black & white camera work that both thrusts the story along & creates some powerful, haunting, close-ups.
Wonderful performances all round, especially from Laurence Olivier, Noel Coward and Martita Hunt. I whooped and howled with laughter at Coward's perverted landlord. Great musical score and Saul Bass titles. Nearly drops a point for Bunny Lake, but the little girl is only 4 so you can't expect too much.
Promising from the start a smart and suspenseful thriller toying with psychiatric and unconscious backgrounds, the fact is that it later delivers much less in a twist that does not satisfy. Preminger does not beat Hitchcock's Psycho although he had a good go at it. The score is a cringing melody and sprinkled along clever hints of mystery there are all sorts of weird reactions. All that swimming to die at the beach.
A superior psychological thriller showing a mother (Carol Lynley) frantically searching for her missing child. The police, however, soon start to wonder if the child ever existed at all. Laurence Olivier is very good at leading the investigation, viewers can enjoy the mellifluous voice of Noël Coward, and everyone involved does a fine job in this mostly ambiguous, and always intriguing, Otto Preminger film.
First and second act are superb, a wonderful cast and interesting sixties London locations. The story is immediately gripping but the plot gradually unravels to the point of ridicule in the last twenty minutes. The villain is telegraphed pretty early on but the denouement, well less said the better. Disappointing but not a disaster.