Probably my favourite Wyler, a film in much smaller scale than, say, The Little Foxes or The Best Years of Our Lives. The Collector has something special - something quirky and flawed that adds a layer of poetry that Wyler's most well-realized films do not have. On the surface it is a well-handled thriller; underneath, it is a Hitchcockian parable, a colorful nightmare of lust & maladjustment.
Wyler is not usually regarded as an auteur. But...consider these films on the theme of doomed love. JEZEBEL, WUTHERING HEIGHTS, THE LETTER, THE HEIRESS, CARRIE. They all ultimately converge down in the cellar of this film. There you will meet Frederick, somewhere between Norman and a young Hannibal. He is the most unnerving of all men. A tender psychopath, in 'love.' Stamp's performance is, in a word, unforgettable.
Despite having read the book, this still kept me engaged. Stamp portrays Freddie perfectly by subtly changing his demeanor whenever his mood changes, and Eggar complements his performance but still shines on her own. I'm glad the book's ending was retained, because it's way more sinister, and the whole film would have otherwise seemed pointless and anticlimactic.
I seem to recall bunking off school to see this, way back. Not as chilling now as it was then, nor as atmospheric as Seance on a Wet Afternoon (partly shot in my old school grounds - that cracked bell). Two bright new stars hit the screen with this unusual Wyler thriller.
Terence Stamp is great as a Norman Batesesque stalker-kidnapper, 1965 style. The plot isn't exactly fast-moving, but its hard to anticipate the next twist. Good to know London traffic was so light back in the day that TS could stalk the luscious Samantha Egger from the comfort of his slightly weird camper van. Pity he never discovers what's beneath the folds in his ridiculously long rain coat and what to do with it.
A gem of a film. Made around the same time as 'Blow up' and with a similar deep internal narrative going on. I love the British class subtext that is brought into the middle of such an internal psychological thriller. As an outsider, Wyler could see clearly the rise of the working class voice in British cinema and bring it subtly into the film. Stamp's piercing eyes & awkward movement help portray his psychopathy.
Good for London location spotting at the beginning,Holborn, Hampstead etc Terry reminds me of James Dean with his funny poses, he's such a ham, esp the rain scene. Samantha Eggar is much more subtle and skilful.I had rather un pc fantasies of conking women out with chloroform when I was about 10, it was all the rage in the 60's, they had that hankie out all the time,nothing a few years of therapy couldn't sort out.
'Love is like a butterfly. Hold it too loose and it will fly away. Hold it too tight and it will crush' Loved the way Terence Stamp slips from a needy, desperate demeanour to icy psychopath at the flick of a switch. Great performances all round with limited surroundings however, the technicolor visuals were a delight.
buggered a good book. Can see why there is no mention of john fowles as he probably didnt want his name near it. The soundtrack is like something from a western. the complex character relationship isn't conveyed but at times did think it was like she had ben kidnapped by a brexiteer which was quite funny, the art scene comes to mind and is very familiar. In the book the girl seems like a genuine slade student btw