Retrieved 5 December They interview everyone on the set, including Mark, who always keeps his camera running, claiming that he is making a documentary. Now, his and Emeric Pressburger's A Matter of Life and Death is a much-loved treasure; on its release init took flak from all sides, the Observer tittering that "a matter of life and death can never be a very good joke" and Variety laying into it as "pretentious poppycock". They are connected through their themes of voyeurism, disfigurement, and sadistic figures. And as Mark laments, whatever he photographs is lost to him. Correct-minded commentators grudgingly accepted its 'masterpiece' tag but were nonplussed with the Film's treatment of its sexual violence. Then in a cabal of admiring filmmakers led by Martin Scorsese himself no stranger to controversy rescued a complete print from Britain.
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In a memorable sequence, an attractive, semi-nude female character turns to the camera and reveals a disfiguring facial scar. But such is the notoriety of Peeping Tom's savaging you might be forgiven for thinking it was the only time critical consensus declared a film a dud only to find later generations falling at its feet. Don't Look Now was less than unanimously admired, and the same went for Apocalypse Now ; the cold majesty of The Shining took years to be appreciated. Retrieved 11 December He kept his son under constant watch and even wired all the rooms so that he could spy on him. Film blog Peeping Tom was not the first cinematic masterpiece to get a critical slating. Show 25 25 50 All.