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.
Unintentionally hilarious and wildly entertaining. I can't get enough of this stuff, psychological mystery with improbable things going on all over the place. Great for spotting English character actors, my Anna Massey has a particularly lovely neck! London landmarks akimbo; St Charles hospital near Ladbroke Grove where I recovered from a collapsed lung after overdoing Notting Hill carnival is particularly poignant.
What a gem! All the eccentric characters have insight into what is really going on. Eccentric on the outside - sane on the inside ... Questioning american culture at a time when americanism was advancing. Brilliant performances and superb script - way ahead of its time. I love the lighting in the eyes of the siblings - a double light that is missing from all the other characters - very clever and the first clue.
Kept my attention for the first 75%, but then it went Zombies R Us and the tension dissipated. Love the monochrome central London locations, excentric character parts and unflappable DCI sporting obligatory long raincoat. Ending just peeters out. We don't need weird American visitors, we've got plenty of the undead of our own. Trump and May should look into this while holding hands in their creepy way ...
Gorgeous, fluid cinematography using wide-screen to the utmost. Set direction, again especially the interiors, is stunning, using the actors as if they were just extra props. Olivier is uncanny in the subtlety of his performance: note how he declines to shake the American's hand. Literate script by John Mortimer. But, the plotting is plodding and utterly falls apart in the end in favor of cheap thrills.