The Horror Movie That Inspired a Generation of Filmmakers

Peeping Tom (1960) was so hated, it nearly ended Michael Powell's career — yet it became one of the most influential horror films ever made. This video essay breaks down why critics despised it, why Martin Scorsese loves it, and how it shaped slashers and found footage.

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Chapters:
00:00 - Introduction to Verisimilitude
00:45 - Spoiler Warning List
00:50 - What is Verisimilitude
01:05 - Two Types of Verisimilitude
03:54 - Emotional and Narrative Verisimilitude
06:40 - Visual and Auditory Verisimilitude
08:44 - Breaking Verisimilitude on Purpose
11:21 - Outro

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Spoilers: Peeping Tom (1960).

Peeping Tom (1960) was one of the most hated movies ever released in Britain — and it became one of the most influential horror films ever made. Why did Michael Powell's Peeping Tom disgust critics, and why can't Martin Scorsese stop talking about it?

Michael Powell was one half of The Archers, the legendary Powell and Pressburger duo behind The Red Shoes, Black Narcissus, and A Matter of Life and Death. Then he made Peeping Tom: the story of a movie-obsessed cameraman who films his victims as they die. One critic said the only way to dispose of it was to "flush it swiftly down the nearest sewer." Powell's career never fully recovered.

In this video essay, we break down why the film's controversy became the very reason filmmakers fell in love with it. Roger Ebert argued Peeping Tom implicates the audience in its voyeurism. Laura Mulvey saw it as a film about cinema itself — and the male gaze at its core.

Thelma Schoonmaker and Martin Scorsese explain why it's a portrait of cinephilia, and how filmmaking can become so addictive it destroys you. We also look at Carl Boehm's haunting performance as a killer the movie despises and pities at once.

Finally, we trace Peeping Tom's legacy. Released the same year as Hitchcock's Psycho, it pioneered the killer's POV camera that defined the slasher genre — and anticipated found footage horror decades early.

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♬ SONGS USED:

Peeping Tom (Opening Titles) — Brian Easdale
Mother Lode — Joe Montague
Hand of Destiny — Albert Behar
Just Before You Go — Adi Goldstein
Grit — Hemlock
A Killer Moment — Tristan Barton
Bossa Serena — Albert Behar
The Mancini Mystery — Jonny Boyle

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