Title: THE REINCARNATION OF PETER PROUD
Year of Release: 1975
Director: J. Lee Thompson
Genre: Supernatural, Drama, Horror
Synopsis: University professor Peter Proud begins to have dreams of a man being murdered by a woman in a lake, and believes that he may have been this man in a previous life.
Within a film history context: Films exploring reincarnation have been present many times since the silent period. One of the first documented films dealing with reincarnation is the 1901 short A MYSTIC RE-INCARNATION. Later in the 1910s came Kenean Buel's THE MYSTERY OF THE SLEEPING DEATH (1914) with silent screen stars Alice Joyce and Tom Moore in the lead roles. The 1920s brought ALL SOULS' EVE (1921) a vehicle for Mary Miles Minter directed by Chester M. Franklin, with a young woman inhabiting a late woman's soul. Reincarnation received another workout in the famous 1932 film THE MUMMY, a horror entry starring Boris Karloff, and directed by Karl Freund. The majority of the films in these eras also highlighted horror and mystical elements, with exotic settings, but the 1940s onwards presented further interesting, original movies with a reincarnation theme.
One of the most well-regarded was Alexander Hall's HERE COMES MR JORDAN from 1941, with Robert Montgomery coming back to earth in another guise after an accident. A comic fantasy directed by Rene Clair in 1942, I MARRIED A WITCH with Veronica Lake as the witch and Fredric March as her hapless victim, was another entertaining take on reincarnation. With the 1950s, 1956 marked the release of Richard Bartlett's I'VE LIVED BEFORE, with Jock Mahoney as a pilot who believes he was someone else from the first World War, another notable film in the genre. Vincente Minnelli's GOODBYE CHARLIE, from 1964, differed from the previous films in one major manner. Instead of a man or woman being reincarnated back into a body of the same sex, this time a man is reincarnated as a woman. In the 1970s several movies dealing with reincarnation were released which were also thoroughly original in character.
ON A CLEAR DAY YOU CAN SEE FOREVER (1970), another reincarnation movie directed by Vincente Minnelli, starred Barbra Streisand as an emotionally troubled woman who finds herself reliving a past life in the Victorian era. AUDREY ROSE (1977), directed by Robert Wise, was a fantasy drama of a young girl reincarnated from another young woman's soul. HEAVEN CAN WAIT (1978) was a financially successful comedy of a man reincarnated into another man's body, with amusing results. Possibly the biggest reincarnation film ever at the box office, it starred Warren Beatty in the title role, who also co-directed with comedy writer Buck Henry.
In comparison to these movies, THE REINCARNATION OF PETER PROUD was the least humorous, but the most sexually forward of the reincarnation films released. It also delved in a more exhaustive manner into the inner psychological life of its protagonist, possibly with the exception of ON A CLEAR DAY YOU CAN SEE FOREVER. The use of technology also distinguishes THE REINCARNATION OF PETER PROUD from the other entries, infusing it with a contemporary, cutting-edge feel for the time. Its lack of overt horror or mayhem also made the film one of the most subtle, uncanny films dealing with reincarnation ever presented to audiences.
Within a film history context: Films exploring reincarnation have been present many times since the silent period. One of the first documented films dealing with reincarnation is the 1901 short A MYSTIC RE-INCARNATION. Later in the 1910s came Kenean Buel's THE MYSTERY OF THE SLEEPING DEATH (1914) with silent screen stars Alice Joyce and Tom Moore in the lead roles. The 1920s brought ALL SOULS' EVE (1921) a vehicle for Mary Miles Minter directed by Chester M. Franklin, with a young woman inhabiting a late woman's soul. Reincarnation received another workout in the famous 1932 film THE MUMMY, a horror entry starring Boris Karloff, and directed by Karl Freund. The majority of the films in these eras also highlighted horror and mystical elements, with exotic settings, but the 1940s onwards presented further interesting, original movies with a reincarnation theme.
One of the most well-regarded was Alexander Hall's HERE COMES MR JORDAN from 1941, with Robert Montgomery coming back to earth in another guise after an accident. A comic fantasy directed by Rene Clair in 1942, I MARRIED A WITCH with Veronica Lake as the witch and Fredric March as her hapless victim, was another entertaining take on reincarnation. With the 1950s, 1956 marked the release of Richard Bartlett's I'VE LIVED BEFORE, with Jock Mahoney as a pilot who believes he was someone else from the first World War, another notable film in the genre. Vincente Minnelli's GOODBYE CHARLIE, from 1964, differed from the previous films in one major manner. Instead of a man or woman being reincarnated back into a body of the same sex, this time a man is reincarnated as a woman. In the 1970s several movies dealing with reincarnation were released which were also thoroughly original in character.
ON A CLEAR DAY YOU CAN SEE FOREVER (1970), another reincarnation movie directed by Vincente Minnelli, starred Barbra Streisand as an emotionally troubled woman who finds herself reliving a past life in the Victorian era. AUDREY ROSE (1977), directed by Robert Wise, was a fantasy drama of a young girl reincarnated from another young woman's soul. HEAVEN CAN WAIT (1978) was a financially successful comedy of a man reincarnated into another man's body, with amusing results. Possibly the biggest reincarnation film ever at the box office, it starred Warren Beatty in the title role, who also co-directed with comedy writer Buck Henry.
In comparison to these movies, THE REINCARNATION OF PETER PROUD was the least humorous, but the most sexually forward of the reincarnation films released. It also delved in a more exhaustive manner into the inner psychological life of its protagonist, possibly with the exception of ON A CLEAR DAY YOU CAN SEE FOREVER. The use of technology also distinguishes THE REINCARNATION OF PETER PROUD from the other entries, infusing it with a contemporary, cutting-edge feel for the time. Its lack of overt horror or mayhem also made the film one of the most subtle, uncanny films dealing with reincarnation ever presented to audiences.
Overview: J. Lee Thompson was a prolific director, an all-rounder who directed forty-five motion pictures over his thirty-nine year screen career. His first film, MURDER WITHOUT CRIME, made in Britain, was released in 1950, and this set the tone for his cinematic oeuvre, tackling challenging subjects and themes in an uncompromising manner. He presented war in ICE COLD IN ALEX (1958) and THE GUNS OF NAVARONE (1961), but diverted to suspense in CAPE FEAR (1962), and adventure in MACKENNA'S GOLD (1970) famous for its high cost but low box office receipts. Mr Thompson also headed two Planet of the Apes films, being CONQUEST FOR THE PLANET OF THE APES in 1972, followed by BATTLE FOR THE PLANET OF THE APES in 1973. He also experimented with crime and horror films, most notably in ST. IVES (1976), and in HAPPY BIRTHDAY TO ME (1981). THE REINCARNATION OF PETER PROUD was his thirtieth movie, and one of his best.
Mr Thompson has crafted a film which maintains an eerie, solemn mood throughout, never letting up on tension, that lends itself to a suspenseful, thoughtful viewing experience. The theme of reincarnation, and the consequences for the lead character, are explored in great detail in THE REINCARNATION OF PETER PROUD, never becoming boring or too technical. The director has largely kept a distance from mumbo jumbo which would have stalled the film, and instead takes the viewer on an emotional rollercoaster. The only slight that could be mentioned in the movie is that it never explains exactly how, and why, Jeff Curtis' soul is now within the mind, and body of Peter Proud. Despite this, the film's forceful and compelling presentation leave the viewer to suspend disbelief in this instance, and just enjoy the ride.
Other features of the film deserve mention for their impact on the movie as a whole. Mr Thompson has also added lashings of sex and nudity to the proceedings, but these elements were presumably to just ensure controversy, and a sense of sensuality to the film. The nature of 1970s film, and censorship freedoms allowed these liberties to be taken, with the box office take largely in mind. These scenes are, thankfully, not the centre of the movie, more of which would have tarnished its supernatural feel with soft core porn trimmings. THE REINCARNATION OF PETER PROUD's overriding mood, and the director's belief in the material, though, shows in the final polished, intriguing product.
Mr Thompson has crafted a film which maintains an eerie, solemn mood throughout, never letting up on tension, that lends itself to a suspenseful, thoughtful viewing experience. The theme of reincarnation, and the consequences for the lead character, are explored in great detail in THE REINCARNATION OF PETER PROUD, never becoming boring or too technical. The director has largely kept a distance from mumbo jumbo which would have stalled the film, and instead takes the viewer on an emotional rollercoaster. The only slight that could be mentioned in the movie is that it never explains exactly how, and why, Jeff Curtis' soul is now within the mind, and body of Peter Proud. Despite this, the film's forceful and compelling presentation leave the viewer to suspend disbelief in this instance, and just enjoy the ride.
Other features of the film deserve mention for their impact on the movie as a whole. Mr Thompson has also added lashings of sex and nudity to the proceedings, but these elements were presumably to just ensure controversy, and a sense of sensuality to the film. The nature of 1970s film, and censorship freedoms allowed these liberties to be taken, with the box office take largely in mind. These scenes are, thankfully, not the centre of the movie, more of which would have tarnished its supernatural feel with soft core porn trimmings. THE REINCARNATION OF PETER PROUD's overriding mood, and the director's belief in the material, though, shows in the final polished, intriguing product.
Acting: THE REINCARNATION OF PETER PROUD has strong performances, particularly the lead roles, with supporting actors also well represented. Michael Sarrazin as the film's protagonist, Peter Proud, is thoroughly convincing, taking the viewer along for the journey with his distinctive low-key acting style. His understated, subtle aura makes the movie's events even more shattering when unexpectedly charged scenes arrive. Cornelia Sharpe as his girlfriend, Nora Hayes, is effective in the film. The lovely Miss Sharpe delivers some savvy barbs in the course of her portrayal, despite her small role, and manages to strongly deliver her character's ethos with humour and restrained style. Paul Hecht is jovial and authoritative as Peter Proud's friend who both wants to assist him, but has ulterior motives of his own. The bearded Mr Hecht is a delight to witness in action, utterly in tune with the enthusiasm of his character. Other players in the film have also been well-cast which bear well for the film as a whole.
Jennifer O'Neill does good work here in THE REINCARNATION OF PETER PROUD, as young divorcee Ann Curtis who finds university professor Peter Proud both enchanting, but also, mystifying. While Miss O'Neill deilvers perky performances of young women well in her other films, when she is more serious and measured, such as her sensitive Miranda in SUCH GOOD FRIENDS, she comes off best. Her Ann in this film is spirited, needy, confused, loving, but also, sympathetic to her mother. Anne Ives, in a tiny role, is excellent as Jeff Curtis' mother in the nursing home, a cameo which provides moving emotional mileage in the movie. Debralee Scott is noteworthy as Suzy, the young woman who directs Peter Proud to the Curtis family home. Wearing skimpy shorts and speaking with gusto, Miss Scott is memorable for brazenly attempting to seduce Peter Proud, in a great turn.
Apart from Debralee Scott, Tony Stephano is also well-utilized as Jeff Curtis, the man whose soul Peter Proud now inhabits. A handsome actor and model who unfortunately did not act in many films, his short but pithy scenes highlight the villainous Jeff Curtis. Mr Stephano manages to convey the abusive, controlling husband who is also a manipulative but troubled man, with complex shades of gray. Margot Kidder, as Marcia Curtis, Jeff's wife and Ann's mother, though, offers the film's best performance. Often with a minimum of dialogue, Miss Kidder played her role with dexterity, her character alternately victim and tormentor, her skilful facial expressions, careful movements, and voice well orchestrated. All of these qualities make Marcia Curtis a fascinating figure indeed, and THE REINCARNATION OF PETER PROUD's most haunting, memorable character.
Jennifer O'Neill does good work here in THE REINCARNATION OF PETER PROUD, as young divorcee Ann Curtis who finds university professor Peter Proud both enchanting, but also, mystifying. While Miss O'Neill deilvers perky performances of young women well in her other films, when she is more serious and measured, such as her sensitive Miranda in SUCH GOOD FRIENDS, she comes off best. Her Ann in this film is spirited, needy, confused, loving, but also, sympathetic to her mother. Anne Ives, in a tiny role, is excellent as Jeff Curtis' mother in the nursing home, a cameo which provides moving emotional mileage in the movie. Debralee Scott is noteworthy as Suzy, the young woman who directs Peter Proud to the Curtis family home. Wearing skimpy shorts and speaking with gusto, Miss Scott is memorable for brazenly attempting to seduce Peter Proud, in a great turn.
Apart from Debralee Scott, Tony Stephano is also well-utilized as Jeff Curtis, the man whose soul Peter Proud now inhabits. A handsome actor and model who unfortunately did not act in many films, his short but pithy scenes highlight the villainous Jeff Curtis. Mr Stephano manages to convey the abusive, controlling husband who is also a manipulative but troubled man, with complex shades of gray. Margot Kidder, as Marcia Curtis, Jeff's wife and Ann's mother, though, offers the film's best performance. Often with a minimum of dialogue, Miss Kidder played her role with dexterity, her character alternately victim and tormentor, her skilful facial expressions, careful movements, and voice well orchestrated. All of these qualities make Marcia Curtis a fascinating figure indeed, and THE REINCARNATION OF PETER PROUD's most haunting, memorable character.
Soundtrack: Jerry Goldsmith's creepy score reinforces a sense of foreboding which plays to dramatic effect in THE REINCARNATION OF PETER PROUD. The score complements, in its subtle manner, what is taking place onscreen without taking attention away from the happenings, whether they are horrifying, tender, or tense.
Mise-en-scene: The mise-en-scene in THE REINCARNATION OF PETER PROUD is just one of the reasons it is such an hypnotic, mezmerising viewing experience. There are so many instances in the film that it is difficult to narrow the list, but, a few stand out for their sheer excellence. The scenes where Jeff is swimming in the lake, the 'Puritan Hotel' sign evident in the sky, the graveyard scene with Peter Proud, Peter Proud's time at the Psychiatry Lab, for example, all stand out for adding to the movie's authenticity. The opening credits are very spare, with the titles and actor credits accompanied by Jerry Goldsmith's taut score, laying the groundwork for the remainder of the movie.
Award-worthy performances in my opinion: Michael Sarrazin, Margot Kidder, Anne Ives, Cornelia Sharpe, Paul Hecht, Tony Stephano, Jennifer O'Neill, Debralee Scott.
Award-worthy performances in my opinion: Michael Sarrazin, Margot Kidder, Anne Ives, Cornelia Sharpe, Paul Hecht, Tony Stephano, Jennifer O'Neill, Debralee Scott.
Suitability for young viewers: No. Female nudity, male nudity, adult themes, medium-level violence.
Overall Grade: A
Link: IMDB Page
Trailer
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