One of the ultimate cult films, overrated by some and underrated by others, and for a lot of the wrong reasons on both sides. Michael Powell's lurid little shocker about a sex killer who photographs his victims at the moment of their death (with a custom-designed camera-cum-mirror-cum-harpoon) seems to have something fundamental to say about the art of photography, much like Rear Window and Blow-Up. It's really pretty tawdry, but that's part of its unwholesome attraction. Carl Boehm, Moira Shearer, Anna Massey. (1960) — Duncan Shepherd
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