No one admitted while the clock is ticking!
A woman reports that her young daughter is missing, but there seems to be no evidence that she ever existed.
A woman reports that her young daughter is missing, but there seems to be no evidence that she ever existed.
Fuck!!! What a masterfully-directed mystery. Shot so beautifully and built so well, lots of perfect little misdirects and kicks to keep you in Carol Lynley’s wonderfully paranoid, stressed out shoes. Keir Dullea and Laurence Olivier are just as terrific as Lynley, and Noel Coward is having such a blast playing a real creep. That ending though... absolutely terrifying and fantastic. Can’t say much without spoiling it but my heart rate was elevated for the entire final 20 minutes.
historically, so-called “hysterical” women have been subjected to institutionalization, lobotomies, and forced sterilization — this subtextual threat looms over our heroine annie lake’s head like miasma. horror is derived from the all-too familiar dread of not being believed.
sorta feels like a precursor to Rosemary’s Baby (the novel was published just 2 years after this film‘s release), and definitely feels emblematic of the second-wave feminism that arose in the 60s. can’t believe i hadn’t heard of it until demi suggested we watch it! #BelieveWomen (and #BelieveDemi) canon!
This is a tight drama that feels way ahead of its time.
With a missing kid and incestuous undertones, it’s no wonder this was extremely shocking for the 60s. Executed perfectly by Otto Preminger, it got quite intense near the end, putting me on the edge of my seat. I wish we had a Laurence Olivier police captain series...
What is the difference between looking and seeing? A child is missing, but no one can find out what happened to her and her mother can’t even prove the little girl exists at all. Preminger’s camera follows the characters in a somewhat similar fashion to Van Sant's films like Elephant, as they explore the spaces where the little girl supposedly disappeared. Ironically, Preminger's seemingly objective mise en scène only expresses the fallibility of objectivity and trusting (superficial) facts and appearances. However, the closer the characters get to the facts, the crazier and more subjective the film becomes. At the last half hour, after we learn the truth, Bunny Lake Is Missing turns into full nightmare mode. In a mad world lucidity is not the key to certainty, insanity is.
The question is why the inspector ever starts to doubt her. The constructed misinformation provided by the culprit doesn't really strongly point to the level of delusion Ann is allegedly experiencing. The inspector seems inclined to disbelieve. But that seems very intentional. This trap would never work if not for the presumptions of the men in this story; this trap would never work outside of patriarchy. But within it, this is an unnervingly believable premise, despite its third act ramp up to a little over-the-top.
This is a later noir, one of those masterpieces of shadow that dwells in doorframes and hallways and gardens. It evokes a mood that is only marred by the occasional shift between Ann and the…
This review may contain spoilers. I can handle the truth.
I'm a little resistant to movies where the reveal is "Ah! He was insane!" but this is some really stunning filmmaking. Certainly influenced by Psycho, this is Hitchcock turned up to 11. The style of the movie changes as it progresses, from the nightmare of the fate of a child gone missing, to Fincher-esque procedural (Fincher certainly must have studied this movie), there are whole sequence which devote themselves not to the narrative at hand but rather the sharing and processing of information. Then finally, intense psychological thriller, where the movie is at its most formally adventurous and IMO at it's best. For one thing, there is the most terrifying hide-and-seek game one will ever see. And that opens up…
Bunny Lake Is Missing unquestionably retains a grand position in Otto Preminger's impressive oeuvre. I consider Preminger to be a truly professional director because of his bold vision and ability of applying it in practice with a rigor and decisiveness quite demanding to keep up in a career spanning four decades; still, he somehow manages it. He lays the foundations of a meticulously balanced picture in Bunny Lake as well, bringing impeccable unity and fine-grained direction to the table.
Oddly enough, it was this sense of balance that lulled me into brief periods of monotony, which marred the viewing experience a tiny bit. The story often lagged and the pacing felt uneven, especially during the unnecessarily elaborated and drowsy opening…
„Bunny Lake ist verschwunden“.......das war auch schon die Inhaltsangabe.
Aber keine Angst, hier ist noch viel mehr drinnen.
Die von Saul Bass wie immer gewohnt genial konstruierte Titelsequenz, eine wunderbare Kameraarbeit, Sir Lawrence Olivier, Keir Dullea und ein sich langsam aufbauender Thrill, der bewusst den Zuseher manipuliert und ihn von einer Ecke in die andere jagt und alle Involvierten (inkl. Zuschauer) langsam zweifeln lässt, was es mit besagter Bunny überhaupt auf sich hat.
Der geübte Vielseher wird vielleicht den Twist schon erahnen können, aber bis dorthin wird man mit einigem versteckt britischem Humor , Thrill, mit sehr viel Schauspielkunst und noch mehr S/W verwöhnt.
Wegen der Subtilität, die bis dahin an den Tag gelegt wurde, könnte man den Schluß als vielleicht etwas plump bezeichnen, aber das schräge Finale ist einfach nur herrlich anzusehen.
Entführung, Hirngespinst oder doch etwas anderes.....Otto Premingers Thrillkost sollte von jedem Filmgourmet zumindest einmal gekostet werden.
Für Freunde psychologischer Filmkunst und für alle Realitätsentrückte da draußen.
Enjoyable if a bit daft story.
Laurence Olivier is pretty awesome even though his screen time is limited. Noel Coward makes for a great dirty old man. But the movie belongs to Carol Lynley who does an excellent job walking the line between sanity and madness as a woman who may or may not have lost her daughter.
The final act is a bit insane, but it is also incredibly intense and Lynley deserves all the credit for holding it together. She switches so effortlessly between emotions and personas that we can't guess how this will end.
“love inflicts the most terrible injuries.”
so engaging and well-paced. that pub scene between laurence olivier and carol lynley is incredible, but my main takeaway from this movie is that keir dullea is one creepy ass snack.
While watching Bunny Lake Is Missing, I thought to myself, “Omg, this film is too damn good. This might be one of Preminger’s masterpieces.” But then we get to the last 15 mins: the climax, and everything that was building up to that moment, the great plot twist, is so out of left field, it sullies the film’s last act. Thankfully, what keeps the film afloat are Preminger’s wild direction, Carol Lynley’s nerve-wracking acting, and Denys N. Coop’s sweeping cinematography.
The premise is quite simple: Ann Lake moves to another part of London along with her brother, Steven, and her daughter, Bunny. She drops Bunny at a pre-school, so she can oversee the movers bring their personal belongings to their…
Watched as part of the Birth Year Challenge.
This excellent black & white mystery/thriller, directed by Otto Preminger, will keep you guessing until the end. The premise of a missing child which may or may not actually exist is not uncommon, but rarely has it been presented with such mastery. Just when you think you have a handle on what's going on, the rug is ripped out from under you and you find yourself questioning your grasp of the case. Laurence Olivier is great as the experienced detective handling the investigation.
La cara de phsyco, por favor.
La estoy viendo por el podcast Frame Fatale. N° 1.
I hate in movies when something's happening to the main character and everyone around them decides to gaslight them into thinking they're the crazy one and nothing's happening for absolutely no reason, it's too heavily relied upon in horror movies and anytime a kid is in danger in a movie. This movie though is actually about how frustrating that is to watch and it did a good job of that, but also was super frustrating to watch because they did such a good job of it.
The Saul Bass title sequence alone grabbed my attention, as it is so unique and enticing set up to lure. Preminger's Anatomy of a Murder is one of my fav movies ever and he did it again with this psychological/mystery flick which is so arresting, beautifully shot and narrated. The ambiguity in the story makes viewers fall in dilemma, as we're not sure what's happening on the screen which is quite a good move. Even though it drags a bit in the middle, the narrative style, performances will keep you going. three leads Olivier, Lynley and Dullea put up a good show. The final act is one of the best I've seen, especially the swing set sequence is nerve-wracking shit, made me anxious and what an apt title man, Hail Preminger!!
This is kinda like a more suspenseful twilight zone episode.
Also “Bunny Lake Is Missing” is such a great title.
Why is this not in the discussion when we talk about the best psychological thrillers?
Ce qui est intéressant dans cette intrigue sinueuse est la construction (anti)dramatique et son absence d’effets chocs. La mise en scène est souvent ingénieuse.
This would be my fifth Otto Preminger film. I've generally been a fan of his noirs and really enjoyed Anatomy of a Murder.
It's been interesting watching Preminger move through popular genres of the time, especially since his earlier movies have an earlier Hitchcock influence and this one is very post-Psycho; it fits right in with other movies that have stood out to me as part of the Psycho-wave: besides the female protagonist, there's the schlocky view on psychology, strange family dynamics, a mystery and an investigation.
For most of the film's run time, the fun to be had here is in that latter part, as we follow Laurence Olivier, playing a police superintendent, investigating Carol Lynley's child's disapperance and…
Generally, most thrillers/ horrors from the 70s and under struggle to scare me. I still appreciate and enjoy them but when it comes to the fear factor it never really gets me.
This tho.. The final 15 minutes or so was so intense and genuinely made me anxious. The film as a whole is fantastically shot, tremendously paced and masterfully directed.
A true gem
Otto Preminger is one of my favorite directors and I was excited to try out one of his later works. You could tell he was thrilled to have access to more mobile camera setups in this film. Every shot is alive with motion, following the actors, dollying down a hallway, soaring and diving through a residential street. It's overused enough to end up being distracting, but just watching a master playing around with new toys is probably worth the price of admission.
There's also a story here and it's, you know, fine. There's some pretty wild stuff going on and I genuinely did not know where it was going, but the ending doesn't do much for me. The panicked mother…
j'étais émotionnellement très investi
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