The 100+ Most Controversial Films of All-Time 1960-1961 The 100+ Most Controversial Films of All-Time Movie Title Screen Film Title/Year, Director Screenshots Peeping Tom (1960, UK) D. Michael Powell British critics called Michael Powell's disturbing thriller about a tormented murderer perverted, necrophilic and trashy; his career never recovered. Although now widely praised (like Hitchcock's psychological horror film counterpart - and the film's thematic counterpart ), this chilling and disturbing film about voyeurism, child abuse, and serial murder by honored and best-loved film-maker Michael Powell was originally widely hated, universally loathed and denounced as sick, especially by British critics, who drove it off the screen. They pronounced it amoral, masochistic, perverted, wholly evil, necrophilic and trashy. It was called nauseating, depraved, depressing, filthy and stench-filled -- and allegedly destroyed the career of its director.

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It suffered from the devastating, vitriolic reviews and was removed from theaters and excised by its distributor. This censored version was briefly available in trashy US theatres in 1962 and in selected arthouse venues, but then removed for almost two decades. Not until 1979 was a full-length version viewable -- at the New York Film Festival. Over time, it has been critically re-evaluated and vindicated, and is now universally regarded as a masterpiece of psychological terror. It was a twisted portrayal of shy studio cameraman (and morbid serial killer) Mark Lewis (Karl Boehm) who filmed call girls and then killed them with the metal-spiked leg of his hand-held camera tripod (with a mirror attached so that victims could watch themselves dying). In the film's shocking opening, filmed from the point-of-view of the voyeuristic camera's cross-haired viewfinder, a prostitute negotiated for two quid, walked upstairs, disrobed, and then gave a look of horror as she was being murdered.

The photographer would then watch the projected grisly footage over and over in the darkness of his lab-studio. His viewing of this particular death was accompanied by the film's opening title and credits. The infamous film with dark subject matter, made more lurid by its Eastman Technicolor, was criticized for its unsavory view of the perverted and morbid crimes perpetrated (and witnessed almost as 'snuff films') upon unsuspecting female victims (a prostitute, an actress-dancer, and a nude model). In a subtle way, it appeared to implicate the voyeuristic viewer and force the audience to identify with the awful and perverse crimes committed by the madman.

However, it masterfully told the back-story of how the monstrous killer had a very troubled and abused childhood with a sadistic father (played by director Powell in a cameo) who filmed him for his studies on the physiology of fear in children. He had contributed to his son's violent and conflicted subconscious (by observing his reactions to a lizard dropped on his bed, his mother's corpse, or his father's new young wife). The much vilified film ended with Lewis' own suicidal death in the same horrific manner that he often used - as police arrived. He impaled himself in the neck with his own spiked device, as he spoke to spared female friend Helen Stephens (Anna Massey): 'Helen, Helen, I'm afraid. Mu Speed Hack Downloads Minecraft. And I'm glad I'm afraid,' and then slumped dead to the floor. The words of a tape recording ended the film: 'Don't be a silly boy. There's nothing to be afraid of.'