Sunday, 16 January 2011

Review Of 'Repulsion'
Fig 1 - Poster Repulsion
Repulsion (1965)
Roman Polanski’s vision of a person going insane has never been so close to perfection as 1965 classic which is ‘Repulsion’.  His method takes the world in which we see it and turns up side resembling the insanity which is a human mind not to mention bring a new to the title ‘Beauty and The Beast’  Naturally this is due to the characters moods swing and the results of them as she gradually get pushed over the edge into true insanity. 
The film illustrates the life of Carole a young Belgian girl living in London, England and working as manicurist in a local salon. Nevertheless Carole feels far from home as she struggle to deal with the male attention and looks to have Andropobia.  After her sister decides to go on vacation with her boyfriend things take a turn for the worse as her phobia reaches new heights and devour her sanity. No sooner are there cracks in the wall and homicides around the apartment. 
Mike Pratt in 'Repulsion'
Fig 2 - Man Hitting On Carole
As the film start we ultimately see the mono faced Carole sitting not paying any attention to her patient, implying that Carole is reminiscing on a past event. This benefits straight away as we are eager to know why she is fixated in this day-dream  and by the end of the movie asking what cause her Andropobia.  No sooner is she out her on the streets do we begin to see the causes. As she walks to lunch she gets hit on a couple males and one specifically named Collin who in turn ask her out on a date the following evening.
Fig 3 - The Decaying Rabbit
Nevertheless the increasing masculine air that surrounds Carole takes effect as her sister Helen bring home her boyfriend who she repeatedly has sex with meanwhile Carole lies awake listening to the groans of her sister. The viewer can now gather a full picture as we she Carole entrapped in the circle of male attention. As Collin become almost a stalker and her colleague at the salon talks about the failure of her relationship with her man. Nevertheless depicting males to Carole as bad omen and increasing her fear of the men. Only when Mathew takes away her sister for a romantic holiday does the crippling fear takeover and the insanity begins. For this reason we begin to empathise with the heroine as we see her as beautiful girl who is isolated by the masculine figures in her life.
Fig 4 - The Insanity - hands from the walls
From night one Polanski’s uses metaphors to describe the general degrading mind of Carole with the rabbit as it slow disintegrates as the films goes on furthermore the imagery of the cracks in the wall expand also displaying a the mind of gradually breaking as the gaps begin to expand like a crack in a glass which shatters soon after. Moreover ‘‘When Carol retreats to a cavernous Earls Court flat, Polanski terrifyingly depicts her hallucinations – clutching hands which reach through the walls – and parallels the decay of her mind with the rotting of a rabbit she intended to cook but has just left out on the sideboard.’ – Kim Newman. In conclusion displaying to the viewer Polanski vision of human a mind slowly but surely turning into unstable state.

As she comes to the climax of the feature her phobia finally loses out to her insanity and when stalker wannabe-boyfriend Collins comes to see her and breaks down the door he receive the end of a candle holder to the back of his head repeatedly. Strangely enough the mono tone face of Carole fades and she displays her true insanity before she comes to realise her error. Nevertheless after disposing of the body she quickly goes back into the repeated circle of hallucination of male hands caressing her body as she walks through the hallways as well as the chimes of a bell when she hallucinates/dreams of being raped by a mysterious man.  Keeping us guessing what happen for Carole to be so Andropobic? Moreover, displaying Polanski mind at work - using suggestive imagery rather than painting out back-story which we would automatically connect with and de-familiarise ourselves with.  This is due to Polanski as he ‘employs a host of wonderfully integrated visual and aural effects to suggest the inner torment Deneuve suffers: cracks in pavements, hands groping from walls, shadows under doors, rotting skinned rabbits, and - as in Rosemary's Baby - the eerie, ever-present sound of someone practising scales on a piano.’ – Geoff Andrew .  Illustrating an ominous presence of a past event which cause her to feel fear and possible give evidence that she wasn’t always scared.
Fig 5 - The first murder and Insanity
Yet the final straw arrive when the landlord comes to collect rent meanwhile Carole has disposed of the body in the bath tub and has reach the next melting point. Nevertheless Polanski toys with us as the landlord seem to be more reasonable as anticipating and by the characteristics of Carole we begin to believe her next move to be a mistake such as her previous homicide.  Nevertheless as the conversation brew to a climax we begin to realise that the landlord is in fact prepare to rape the heroine in which we sympathise with her defence still question about the continuous slashing to the incapacitated landlord. Still Polanski end the film at this point as we see the insanity in full form as she aimless walks in circles with the ‘rooms of the apartment tacitly reveal her mental state. Phantom arms that punch through the walls and seize her visualize her nightmare insanity.’ - Bosley Crowther as well as laughing to herself as she draw on the windows and put on her best lippy. But with this come her final instalment of hallucination and this time they become more frequent as she dodge a maze of male hands as well as seeing the roof cave in on her. As if to stand for a metaphor for Carole being fully fledged incarcerated in her home.
Fig 6 - The Insanity continues As Carole Is Harrased By The Wall
In the terms of direct the choice made for imagery and symbolism shows the genius of Polanski works as his ideologies display the perfect use of metaphor to describe the unsettling thought which surround Carole. In turn displaying what would happen to those who are surrounding by their worst fear.  The big ending for me is the portrait of the family as Polanski probes us to envision the reason for Carole fear as the image of her as a child show her looking sternly at her across the photo a male figure who can only be perceive as a father figure by blood or a step-father. Nevertheless pointing the finger at child abuse at the male figure when considering her previous hallucination or in fact memories of assault. Still for Polanski this does nothing more than over-power his later feat ‘The Tenant’ as the surrealism of the imagery just scream to it viewer insanity.

List Of Illustrations

Fig 1 Polanski Roman (1965) Poster Repulsion
[Film Poster] From: Repulsion

Fig 2 Polanski Roman (1965) Man Hitting On Carole
[Film Still] From: Repulsion

Fig 3 Polanski Roman (1965) The Decaying Rabbit
[Film Still] From: Repulsion

Fig 4 Polanski Roman (1965) The Insanity - hands from the walls
[Film Still] From: Repulsion

Fig 5 Polanski Roman (1965) The first murder and Insanity
[Film Still] From: Repulsion

Fig 6 Polanski Roman (1965) The Insanity continues As Carole Is Harrased By The
[Film Still] From: Repulsion


Newman, Kim Repulsion
 (Accessed on16.01.11)

Andfews, Geoff . Repulsion
 (Accessed on16.01.11)

Crowther, Bosley. (1965)Repulsion
 (Accessed on16.01.11)


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