Peeping Tom (1960)

 "Whenever I photograph, I always lose..."

, a

This film, by Powell not Pressburger, was apparently considered so shocking back in 1960 that Michael Powell's reputation never really recovered, but in more recent decades it's been recognised as a superbly conceived and shot examination of the psyche of a murderous voyeur... and that it certainly is.

The direction is utterly superb from the start, full of tension and playfully, visually, using the concepts of cameras and points of view. I can think of no film for which the phrase "male gaze" is more apt. All the murders of the women are superb pieces of drama.

Yet the characterisation and performances are also on point. Karlheinz Bohn, despite his accent often slipping (he was German), is very good as Mark, our creepy protagonist. Yet Maxine Audley is also superb as Mrs Stephens, blind, depressed, self-medicating on whisky, who ironically almost sees through Mark. Yet the character of Mark is well-observed. We see just enough of the childhood abuse he endured, and some to understand this twisted and damaged individual.

This is also a film unusually filled with granular detail of everyday life in the UK in 1960, a fascinating little time capsule in that sense. Most of all, though, it's a real triumph both visually and conceptually.

I Clavdivs: Waiting in the Wings

“IS THERE ANYONE IN ROME WHO HAS NOT SLEPT WITH MY DAUGHTER???!!!”

Sometimes it’s hard finding a quote. Today is not one of those times.

We ended last episode with Tiberius in exile for violence against his wife, Julia, Augustus’ daughter, while Caesar’s grandchildren Gaius and Lucius were being groomed for power. Well, Gaius has already had a “sudden and unexplained death”; I’m sure Livia was shocked. Now, as she spends the episode plotting to have Tiberius recalled, I’m sure she’s anxious for poor Lucius. It would be a shame if anything were to... happen to him. All very similar in shape to last episode, then, except that Claudius is now a limping, stuttering child thought a fool by everyone. Like Tristram Shandy, it’s taken a while but he’s got past his own birth in his autobiography.

Last episode I failed to note a few actor spotting moments, not the least of which was Granny Pig from Peppa Pig (a key cultural touchstone to we parents if young children) discoursing on anal sex. Well, Julia is now, having been told last episode to lay off a bit, shagging around with wild abandon and her terrible downfall and exile is, I suppose, the central plot line of the episode, giving us a chance to see some splendid plotting by Livia and leaving Julia both sweating revenge against Livia and with a fairly clear idea of what’s been happening. It’s all very clever plotting at the same time as giving some superb actors a chance to have some real fun with some delightfully scheming characters. Sian Phillips is deliciously evil here, with loads more to come. But BRIAN BLESSED, beneath the SHOUTING, give a wonderfully subtle performance of avuncular bonhomie which can switch to menacing in an instant. Livia may manage to manipulate him on family issues, but this is a believable, power-hungry Augustus, albeit one who has long grown used to power and is now saddened by the tragedies that seem so inexplicably to befall his blood descendants.

In the middle of the episode is an odd omen that seems to predict Claudius’s rise, followed by some wonderful dialogue between Livilla and Antonia as she wishes herself dead before Claudius should ever come to power and is promptly send to bed without any supper, an appropriate prefiguring of Livilla’s own manner of death.

There’s also a lot of witty commentary in the dialogue on Rome and its ways- Julia and Antonia bemoan the unreliability is slaves these days, while Augustus forces his knights to get themselves married- “And don’t try to get round it by getting engaged to nine year old girls. I know that dodge”. But all this is overshadowed by Julia’s exposure, and by THAT scene. It may be a famous shouty Brian Blessed scene. It’s also an extraordinary piece of acting. Although personally I also love Kevin Stoney as fraudulent astrologer (but I repeat myself) Thrasyllus as Tiberius shares with him a dramatic reversal of fortune and is unexpectedly recalled to Rome. Their fit of laughter as they hear of Lucius’ seemingly natural deaths is utterly wonderful.

But now stage young Postumus is joint heir with Tiberius. And he’s intelligent to know this probably isn’t good for his life expectancy. So ends another magnificent episode, but I suspect I’ll be ending all the rest of these blog posts with similar sentiments.

Doctor Who: The Space Pirates

Part One



"There's only one thing we can do- run!"



Some top incidental music here, Dudley Simpson's best score so far. And with the music and modelwork (also excellent) together, it's all looking a bit 2001. The recon is excellent too, with lots of CGI and clever repeated use of existing footage.

We get a lot of awkward exposition from the strangely Gerry Anderson-esque Space Corps though- lines like "The beacons, as you know, are constructed of Argonite" are the ultimate in As-You-Know-Bobbery. In fact this feels more like a Gerry Anderson programme than Doctor Who at this point, until we're reminded of what we're watching by the fact the space corps' doors sound as if they're from Skaro. Absurdly late, 15 minutes in, the TARDIS materialises- will we ever see such a late appearance by the TARDISeers in a first episode again?

All that aside, though, you can appreciated how tightly constructed the episode is by the end. And I like Caven's Ned Kelly outfit.


Part Two


"Is it all right if I blow my nose, or is that another offence?"


The Space Corps' scanner looks like an old telly from the 60s. Odd, that.

I love Milo Clancey, especially the stuff with the boiled egg. Robert Holmes has truly arrived! Although, er, that's an interesting accent. It's also interesting that Clancey, the independent individual oppressed by government red tape, is presented as a hero- not the last time that Holmes seems to show a glimpse of possible libertarian politics in his scripts!

As this episode actually exists we can see how well shot this all is. And also that the Doctor seems to be carrying a perfectly ordinary screwdriver, not a sonic one. Oh, and Madeleine Issigri, she of the interesting headgear, is clearly a baddie.

Part Three



"Why don't you do something useful? Why don't you make us all a pot of tea or something?"


The General suspects Clancy of being the pirates' ringleader for no reason whatsoever. With other writers I'd peg this as poor characterisation, but from ex-policeman Holmes it may be based on his real life impressions of police work!

The scene where Zoe's worked out the destination of the pieces of the beacon is rather fun, especially the Doctor's reaction. Reminiscent of Holmes' earlier The Krotons, in fact.



Part Four


"I like drawing pins!"



At last the TARDISeers start to become sort of engaged with the main plot. That'll be a typical late Troughton six parter then. This is possibly the best episode yet, what with Troughton's antics with the tuning fork. And Jamie, inevitably, opening the door by hurling it across the room. Of course, the Doctor was carrying it in his pockets, along with some drawing pins. The one-day-to-be-traditional trope of the Doctor having capacious pockets starts properly here, and it starts with Bob Holmes.

Milo Clancey's a bit of a prototype for Han Solo, isn't he? aside from the minor detail of being completely different, that is. He's definitely the real hero though- you really feel sorry for him when the TARDISeers make their nasty accusations!



Part Five



"I do all the dirty work- the space piracy, the capital larceny, the first degree homicide..."


Suddenly (well, the pace hasn't exactly been that quick so far, but...) things are beginning to drag a bit, what with the Doctor & co being locked up in the second cell this episode and the Space Corps' continuing incompetence.



Part Six



"Ha! Ha! Ha! Ha! Ha!"



The last missing episode! Ever! Hooray! Much rejoicing! Etc!

It's only just occurred to me this far in how uncannily similar to the Star Trek theme tune the incidental music is. I wonder if that was deliberate?

Interesting how the Space Corps never actually meet the TARDISeers. And annoying how it all ends with some Hanna Barbera canned laughter...




Overall, there's no denying it drags and gets especially repetitive towards the end. Holmes is not exactly the finished article here, and this is not exactly one of the best stories ever, but this is nowhere near as bad as its reputation. Some of the dialogue sparkles and this is unmistakably Bob Holmes in the way The Krotons wasn't. A solid 3/5- quite conceivably higher if it'd been a four parter.


Ten whole episodes to watch and review tomorrow, then that's the Mighty Trout done for me!