Repulsion (1965)

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Repulsion is a psychological thriller set in the 1960s; or the summer of love. While the content may seem to be identical to that of some other films of the same genre we will find that this particular piece brings some different unique content onto the same scale. And in the mindset of structurally unique, and experimentally sound creation, we will be able to suitably tackle the core of this weird film. With status as it was in the sixties, people were a lot more relaxed about sexual tendency than in the past, being the advent of the contraceptive.To generate conflict this concept introduces to us a subject, name of Carol (Catherine Deneuve), whom we are led to believe has had an enigmatic difficulty in the past regarding sexual advances which has led to mental instability around men. The mix congeals when her sister and her suitor leave for Italy and the woman is left to her own devices.

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During the course of the plot we clearly outline a descent into madness of the main character Carol. The mise-en-scene of the settings really helps to cement the downfall for onlookers, providing the visual attraction needed for a successful rate of interest. These are important because they highlight a sense of psychological disturbance in the head of the individual. In particular the psychological changes seem to be most effective in the earlier stages of the plot when Carol's suspicion of all things masculine seems to be growing the most rapidly, although we could say this rate remains consistent for the duration for the film overall. It could go to show how disturbance is most effective when displayed in a domestic environment that viewers maybe familiar with. 

Use of empathy and shock regarding the characters can be hard to grasp in the later stages of narrative development, but by the end of the plot the viewer is already wrapped up in Carol's situation. To clarify this statement it would be most noticeable in the scene where Carol ends up killing her would-be boyfriend.'Using the simplest of resources, director Roman Polanski manages to convey Carole’s descent into madness, in a way that invites audience inside her head even while giving viewers the creeps. Much of the imagery is memorably revolting (a rotting rabbit) or surreally disturbing'(Biodrowski, 2009) If shown to a mainstream audience you could imagine the reaction as if people were watching a freak show dance onscreen. It would be difficult to give the main character the time of day at all after the first killing but as previously mentioned, by the end you are really left with the feelings for someone misunderstood. Ironic for a heroine who became something of a villain by the credits roll.

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Regarding the setting, the director, Roman Polanski made a point of making the heroine more and more boxed in as the movie goes on. We see the same route a couple times, made memorable by its obvious landmarks, eventually becoming secluded in the household with the woman to see the interior morph. It is very reminiscent of Freudian theory 'Freud found that dreams disguise the latent thoughts which constitute them by means of distortion.'(Christopher, 1997) By the end of the film Carol is simply hidden under the bed, completely retreated from consciousness even. Artistically this was a means to represent her internal struggle, something a younger or less mature audience member may have trouble understanding, thus the film is completely subject to their signature. The point being it got a message across that was otherwise invisible means that the narrative created a unique environment for the chiller.

Overall this production is an experience to be remembered for such obvious reasons. the character building, setting, cast and narrative progression are all things that come together to create experience, and this film has done just that. 'It is also a haunting adumbration of a small but piercing human tragedy, and it is almost a perfect specimen of a very special cinema-sound technique.'(Crowther, 1965) One qualm I may have is the presence of some conflicting tensions regarding the scene with the landlord, as we as the audience have no more reason to believe that she will kill the man if he doesn't just leave, kind of ruins the moment for me, especially when the landlord is never mentioned again even by other characters. Apart from that the film is utterly enjoyable from the standards of any well matured adult.  Would recommend. 

Bibliography
Badcock, Christopher . Essential Freud. 2nd ed. Worcester: Blackwell Publisher, 1992. Print.
Biodrowski, Steve. "Repulsion (1965) – Horror Film Review". Cinefantastiqueonline.com. N.p., 2009. Web. 30 Nov. 2016.
Crowther, Bosley. "Movie Review - - REPULSION - Nytimes.Com". Nytimes.com. N.p., 1965. Web. 30 Nov. 2016.

Figures
fig 1. Film poster for Repulsion (1965)
fig 2. Shot from introduction of Repulsion (1965)
fig 3. Hall of groping hands Repulsion (1965)