Repulsion

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A loosely-hinged story about madness. A benumbed young woman, staying alone in her sister's apartment, is suffering from neuroses which may have to do with her being sexually repressed; when intruders attempt to get into the flat, the girl unintentionally becomes a murderess. Director Roman Polanski's first English-language film has very little dialogue in it (and what wordy sequences there are don't quite register, for Polanski had not yet developed a feel for the language). Although the filmmaker's narrative is carefully-mounted, it quickly stagnates via Polanski's incredibly slow pacing; yet, on a purely visual level, some effective, eerie scenes are created. Still, this plot as such isn't very involving, despite a foreboding undercurrent that works on the viewer steadily (the movie is actually more disturbing after it's over, when you've had time to assess it as a whole). Catherine Deneuve has the complicated leading role, and she's tremulous and lovely if not particularly magnetic. ** from ****

In London, Carole Ledoux (Catherine Deneuve) is a sexually repressed and schizophrenic young woman, living in a small apartment with her sister Héléne (Yvonne Fourneaux). Héléne has a lover and spends a couple of days travelling with him to Italy. Carole stays alone in the apartment, and becomes insane, having violent hallucinations of rape and murder. "Repulsion" is a sick movie that has an outstanding performance of Catherine Deneuve, one of the most beautiful women in the world, in the beginning of her career. The direction and black and white cinematography are stunning for a low budget movie. The story is developed in slow pace, disturbing, claustrophobic, and morbid, and recommended for very specific audience. In the end, there is a hint regarding the reasons of the problems of Carole with her sexuality, when the camera comes closer to a picture of her family and she is looking fiercely to her father. My vote is seven. Title (Brazil): 'Repulsa ao Sexo' ('Repulse to Sex') Note: On 13 Oct 2020, I saw this film again.

This is only my second comment on a film on here as normally just read others but i had to leave a short comment on this film. I consider myself pretty scare proof as I'm a massive fan of psychological horror but i just caught Repulsion on TV tonight at 1.40am alone, in the dark. As i write its now 6am as all i can think about is this film. I have never been affected by a film as much this before. Whilst some may consider the first part rather slow i found its a wonderful set-up for what follows. I wont review it as many others already have but all i wanted to say is that this film truly haunted me, genuinely made me jump and kept me tense as hell!.....i cant put it into words The cinematography is amazing, much better than anything current. The lead actress is astonishing to say the least and unlike other films, this film is truly disturbing. I advise watching alone, in total peace, in the dark. I can see where lynch got many of his ideas but this is far superior.The last shot is pure genius and very unsettling. I can honestly say this is now my favourite film of all time.

Who would have thought that a film applauded by so many as a truly frightening experience would be non-impressive, non-engaging and simply boring? Well, what is truly frightening is the fact that people actually find this piece of snail-trash to be a sleep-depriver instead of a sleep- inducer. Frail minds I guess. Except for nice cinematography, not too shoddy acting, and a scene involving an attack with a razor, I hated the film. Considering this is a story about a woman's descent into madness, a struggle with her own hell, it's simply amazing how you can have such a premise and then create something so utterly dull as this. This, menacing? !! Far from it, not even mildly unsettling, to think that this film will continue to get praise which in my opinion it does not in the slightly deserves, is a shame. If you want menacing and excellent films by Polanski, watch Rosemary's Baby, The Tenant, or The Ninth Gate. Avoid this one at all cost.

I believe that this is not her secret fantasy. This is a man's sick fantasy. No woman would dream such thing. In the 60's the male directors imposed to actresses whatever they wanted. This movie is far from Psycho. It doesn't have anything worthy in it, only polluting viewer's brains. I saw it on TV at a late hour and by chance I moved to another channel where there was another American movie this time, with another love scene.I tell you I had no wish to go back to see the British movie any longer. About Catherine Deneuve she looks so weak here, it's extraordinary she would turn to have such a long career. She got such a strength as actress in years yet she haven't played not even in one important movie.

A close-up of an eye frames the beginning and the ending of Roman Polanski's psychological horror classic REPULSION. The owner of this eye is Carole Ledoux, one of cinema's most unsettling heroines, who is about to -- in the next 100 minutes -- undergo a complete personality transformation from a soft-spoken ingenue to a catatonic madwoman who actually anticipates her own imagined rape. The choice to use Catherine Deneuve must have been a stroke of casting brilliance (even though the expression is dated and cliché) because her pale features, blond hair, and overall simpering body language make her an ideal for a young woman about to snap at any moment. Her Carole Ledoux is a obsessive compulsive woman who can't stand to see dust over a chair, much less the kiss of another man. She receives no help from her sister Helen (Yvonne Furneaux). A woman as outgoing as she is withdrawn, there is an implied notion that Helen would rather be living alone than with her sister Carole. It makes me wonder how much of Carole's eventual madness would her character be aware of, but then again, she is into her own life, so that would be unlikely. The only person who seems to want to help Carole, who senses there is something wrong with her and is resolved to be with her despite anything is Colin (John Fraser), but she is too immersed in her own crumbling mind to notice. It's not a help that it ends badly and he winds up in her bathtub which she's already filled with water -- why, we never know. Once he's gone, her mind is free to devolve into its chaos, and this chaos is able to finally conquer her until she is in a catatonic haze. Why do people go mad? There is no true explanation for it. There are people who doubt Carole's unraveling mind would have taken place in the way it does, but this is exactly what happens, not just in this movie, but in usual circumstances. Polanski is excellent in establishing her progressive mental decay: she listens to a couple make love through the walls of her apartment -- itself enhancing her own repressed sexuality, a very striking moment of eroticism. She begins acting oddly not only at home, but at work, even while walking down the street. Polanski uses some experimental jazz to manifest her mind spinning out of control much in the way he used it in some of the more nerve wracking sequences of ROSEMARY'S BABY. About forty-five minutes into the movie -- roughly halfway -- we're treated to a blink or miss image of a man standing opposite from Carole, reflected in her closet mirror. It's a powerful moment and one that didn't need the shocks used today to make me jump out of my seat. Using odd camera angles, photographing people in extreme upside down closeups, and showing increasingly imagined scenes of rape, Polanski creates a hellish scenario where a woman's mind is torn to pieces, and where we can't do anything to stop it but watch. It does add to Deneuve's powerhouse performance that much of her time on screen is spent nearly mute and by herself. Terror, because of this, becomes an internalized experienced that only becomes external through the set the apartment was modeled on and Deneuve's extreme acting, which is a revelation. The mundane, even the trivial, does a 180 degree turn and becomes chaotic, a reflection of reality gone to hell, and a beautiful woman turned inside-out due to her repressed feelings directed towards her father, who at that last haunting shot of the family portrait looks a little like the rapist -- disclosing the root of her intability and her hatred/desire of men. REPULSION is a groundbreaking horror film that has become more relevant in recent times with the advance of psychology. Eschewing ghosts for shadows and surreal settings, its influence can be seen in the more harrowing moments of REQUIEM FOR A DREAM where Sarah Goldfarb is stalked by her own crumbling mind in her own apartment and a refrigerator suddenly turns homicidal.