Bunny Lake ist verschwunden (1965)

Bunny Lake ist verschwunden: Directed by Otto Preminger. With Laurence Olivier, Carol Lynley, Keir Dullea, Martita Hunt. A woman reports that her young daughter is missing, but there seems to be no evidence that she ever existed.

“I saw u0026quot;Bunny Lake Is Missingu0026quot; for the second time last night at San Franciscou0026#39;s Castro Theatre. The first time was also at the Castro twelve years ago during an Otto Preminger festival. Preminger made a number of better films – u0026quot;Laurau0026quot; and u0026quot;Anatomy of a Murderu0026quot; come to mind – but I have a special fondness for u0026quot;Bunny Lakeu0026quot; even though at times it drags and is overly talky.u003cbr/u003eu003cbr/u003eAmong the merits of casting Carol Lynley and Keir Dullea, it can be successfully argued that they look like siblings – often not the case in films – which works very well for this film, as does their ethereal out-of-body quality. u003cbr/u003eu003cbr/u003eCriticism has been made that the role of Ann Lake was written one dimensionally and therefore offered Lynley little to do but weep and whine; but this may have been Premingeru0026#39;s intention to support that part of the plot that suggests Ann may not have a daughter and that Ann herself may be more than a bit unbalanced.u003cbr/u003eu003cbr/u003eDullea is an unusual looking actor who can photograph good looking or simply strange. Preminger used this well early in the film, although he seemed to lose subtlety as the narrative headed towards its denouement.u003cbr/u003eu003cbr/u003eThe filmu0026#39;s superior black-and-white widescreen photography is one of its strengths. London locations and interiors are effective and impressive. I especially liked the doll hospital cellar sequence with Lynley holding an oil lamp as she moves about, the high angle shot of the backyard the begins the final sequence, and several sequences when characters pass quickly from one room to another.u003cbr/u003eu003cbr/u003eThe sexual subtext is not as hidden as it would have been in the 50s, but subtler, say, than after 1970; its ambiguity adds to the filmu0026#39;s texture without getting in the way. u003cbr/u003eu003cbr/u003eIn fact, 1965 seems a perfect time for this film to have appeared since the cinematic fulcrum was still well placed to balance a filmmaker from older Hollywood who also enjoyed pushing the envelope. A little bit later, color photography would have been mandatory, and the characterizations would have moved into a much more bizarre, psychedelic arena.u003cbr/u003eu003cbr/u003ePerhaps because of how its strengths and weaknesses combine, the film has a seductive, haunting integrity for me. As the film began with the Saul Bass titles and Paul Glassu0026#39;s score, I felt a pleasurable sensation of awe which I used to feel more often when seeing a movie, and which reoccurred a number of times in u0026quot;Bunny Lakeu0026quot;.u003cbr/u003eu003cbr/u003eTry to see this film on a large theater screen to experience the full power of the black-and-white widescreen cinematography. Otherwise, view the letterbox DVD on a screen large enough to allow you to see details. There is much to enjoy in u0026quot;Bunny Lake Is Missingu0026quot;, so donu0026#39;t miss out.”