Film Reaction: The 1965 Film The Collector

film Reactionthe 1965 Film The Collecto

The Collector is a 1965 American psychological thriller film adapted from the 1963 novel The Collector by John Fowles. Directed by William Wyler, the film features Terence Stamp and Samantha Eggar in leading roles. The story revolves around Frederick Clegg, portrayed by Stamp, a reclusive man obsessed with butterflies and women, who kidnaps Miranda Grey, an art student, and keeps her captive in his isolated home. The film explores themes of obsession, control, and human vulnerability, employing stylistic visual storytelling, yet it faces criticism for its impersonal direction and moral ambiguities.

The narrative follows Frederick Clegg's obsession with Miranda Grey, which culminates in his kidnapping her after winning a large sum of money. Clegg constructs a makeshift prison in his home’s basement, where he holds Miranda captive. Throughout her captivity, Miranda oscillates between defiance and despair, attempting to manipulate her captor and find a way to escape. Clegg’s obsession manifests as a desire to possess Miranda completely, blurring the lines between love and obsession. The film’s portrayal of their evolving relationship highlights the psychological complexities of both characters, emphasizing the disturbing power dynamics at play.

Cinematographically, Wyler employs stylish camera work and editing that enhance the film’s tense atmosphere. His use of close-ups and controlled shots effectively convey the characters’ psychological states, especially the vulnerability of Miranda and the awkward social skills of Clegg, which resemble those of Norman Bates from Psycho, another disturbed loner obsessed with women. The film's visual style, though somewhat detached and impersonal, underscores the chilling nature of the characters’ interactions and the overarching themes of possession and human fragility. Critics have noted that Wyler’s technique, while visually compelling, may have sacrificed emotional intimacy and the moral weight of the story, leading to a somewhat cold viewing experience.

Performances in the film elevate its psychological impact. Stamp's portrayal of Clegg captures the character’s hesitations, frustrations, and obsessive tendencies with disturbing accuracy. His physicality and mannerisms, which some critics compare to a disturbed Stan Laurel, reveal a man disconnected from social norms and deeply consumed by his fixation. Eggar's Miranda displays a spectrum of emotions—from terror and confusion to resilience—making her characterization both believable and compelling. Their performances create compelling psychological portraits that challenge viewers’ perceptions of morality, obsession, and human agency.

Despite Wyler’s impersonal stylistic approach, the film’s strengths lie in its visual storytelling, pacing, and portrayal of male-female relationships. The depiction of gender dynamics echoes those in other classic films like Wuthering Heights and Detective Story, where authentic emotional exchanges heighten the narrative’s realism. However, Wyler’s detached style, which deviates from Hitchcock’s more voyeuristic techniques, perhaps limited the film’s immediate cultural impact. Comparisons between Clegg and Norman Bates highlight common themes of social awkwardness, isolation, and obsession with women, underscoring the film’s exploration of psychological deviance in the context of societal norms.

The sexual content in The Collector was provocative for its time, featuring two nudity scenes involving Samantha Eggar, which challenged censorship standards of the 1960s. These scenes, although discreet compared to contemporary standards, were considered highly erotic during that era. More importantly, the film’s voyeuristic and fetishistic elements—particularly Clegg’s obsession with Miranda’s body—add layers of psychological complexity, exploring themes of desire, possession, and power. Clegg’s forced caress of Miranda’s unconscious body epitomizes the disturbing intersection of desire and violence, raising questions about morality and consent.

The film’s core plot involves kidnapping—a motif commonly used across cinema and literature—symbolizing the act of obsession and the desire for complete control. Similar themes appear in other narratives like the TV show Criminal Minds and the film Kiss and the Girls, where objects of desire are forcibly taken and psychologically analyzed. This motif reflects societal anxieties about obsession, power, and human vulnerability, making The Collector a significant psychological thriller that examines the darker aspects of human nature.

In conclusion, William Wyler’s The Collector remains a provocative and visually compelling film that delves into obsession, psychological manipulation, and the complexities of human desire. While its impersonal style may limit emotional engagement, the performances and thematic depth make it a noteworthy contribution to the genre. The film’s exploration of social deviance, obsession, and the human capacity for cruelty continue to resonate, offering insights into the darker recesses of the human psyche. It stands as William Wyler’s last major film and a noteworthy example of 1960s psychological thriller cinema.

References

• Fowles, J. (1963). The Collector. London: Jonathan Cape.
• Mann, S. (2013). The Collector (1965 film). The Terence Stamp Handbook: Everything you need to know about Terence Stamp, 301.
• Wyler, W. (Producer & Director). (1965). The Collector [Film]. United Kingdom: Warner Bros. Pictures.
• Kauffman, G. (1999). Such a Lovely Sight: An Ecocritical Study of Nature and Environment in the Films of William Wyler. Film & History Journal.
• Hitchcock, A. (1960). Psycho [Film]. Universal Pictures.
• Leighton, R. (2011). Psychological horror films of the 1960s: An introduction. Journal of Film Studies, 45(2), 45-65.
• McGowan, T. (2007). The Visual Style of William Wyler. In The Films of William Wyler (pp. 120-142). Cambridge University Press.
• Smith, J. (2015). Violence and Obsession in Cinema: A Comparative Study. Journal of Screen Studies, 23(4), 78-94.
• Williams, P. (2018). Gender dynamics and captivity films. Feminist Media Studies, 18(6), 1024-1037.
• Zellner, B. (2012). The Representation of Morality and Immorality in 1960s Cinema. Historical Perspectives on Film, 9(3), 143-160.