Repulsion (1965) Review

Fig 1. Poster for Repulsion (1965)

Introduction

This Review examines the symbolism and reoccurring motifs seen throughout Roman Polanski’s 1965
film Repulsion. The symbolism analysed includes the more obvious and apparent imagery to the less
visible and noticeable. They are examined as to how they relate to the wider narrative of the film and
the possible interpretations of them. Sources used to reinforce points made include: articles from the
websites AV club, 366 Weird Films, and Senses of Cinema.

Roman Polanski's Repulsion (1965) chronicles the slow descent into madness of a young woman
named Carol. Starting from the moment her sister leaves with her fiancé to Italy, whom Carol does
not take a liking to. Soon her mind begins to destabilize, hallucinations of sexual assault, sounds,
fighting off a would-be suitor by the name of Colin as he tries to win her heart. As Carol becomes more
unhinged her sense of reality starts to blur and begins to lash out violently at the real world.

It is possible that Repulsion (1965) alludes the madness and instability of the main protagonist, Carol,
through symbolism, or at least the effects of it. A recurring motif that appears throughout is that of
clocks. Their appearance suggests an important role in the representation of Carols mental instability
or perhaps a cause of it: the slow, loathsome passage of time. Many shots in the film have are drawn-
out to seemingly build suspense and/or establish a strange and eerie atmosphere. And yet, it is
possible that the inclusion of these shots could imply the flow of time; the inclination being that the
Carol’s lonely world is amplified by the ticking seconds of long days and nights, waiting for her sister
to come back to her.

Another element that is prevalent throughout the course of the film is that of eyes. Throughout the
course of the film the they repeatedly used to suggest a sensual tone across the runtime of the film.
In a web article by Didier Truffot when analysing the first shot of an eye in the film “This close-up
represents Carol’s environment which is visually distorted. The film is thus not grounded in narrative
objectivity but in an aesthetic of subjectivity, made of disproportions and limits” (Truffot, 2018).
Evidence for the inclination that the recurring motif of eyes throughout the film alludes to its uncertain
narrative and structure can be found at the end. In the last scene, when Helen and her fiancé arrive
back at the apartment, they see a dead body in the bath tub. The question is though who is it? Colin’s
or the Landlord’s. It could also be inferred that the inclusion of the eye is an allusion to the sexual
gaze. Given the film’s title, it may very well imply that there is some sort of visual unattractiveness to
what a character sees, repulsed by it. Carol is repulsed by men and the men because of delusions her
being sexually violated.

Fig 2. Still of an eye from the film

Another motif seen throughout the film is that of cracks. According to the website 366 weird movies
the cracks “symbolize Carole’s deteriorating mind. Early on, Carole looks at a developing fissure in the
apartment wall and muses, “I must get this crack mended”; much later on, a crack in her bedroom
wall breaks open and draws her into a particularly nasty nightmare” (SMALLEY, 2008). This point is
very likely given that whenever suffers a particular delusion or is about to, a crack appears, a fissure
grows rapidly in front of her conveniently as if her very mind bends and breaks at that moment.

Fig 3. Cracks

Another recurring symbolic element is that of the rotting, uncooked rabbit that perpetuates
throughout the runtime throughout the film. Its gradual decomposition into almost nothing but bones
and a horde of flies buzzing around could also connote Carol’s deteriorating mental state. In a AV club
article, Greg Cwik notes “she removes his toothbrush apprehensively, as if picking up something dead
and decaying” (Cwik, 2015) when discussing how the character Michael appears to leave his
toothbrush in her bathroom. The decaying rabbit could represent the fear of having men being
attracted to her, like how the flies are lured by festering meat.
 Fig 4. The rotten rabbit

Conclusion

Roman Polanski’s Repulsion (1965) manages to visually communicate its narrative and sensitive
subject matter through its diverse and intricate symbolism. From the cracks that accumulate across
Carol’s apartment to the recurring visage of clocks, their presence enables a strange and otherworldy
atmosphere. The symbolism also lends itself to the subjective nature of the film as it doesn’t give a
viable objective view the only way to determine the truest events implied within is through motifs
given throughout.

Bibliography
Cwik, G. (2015, October 31). 50 years ago, Repulsion pioneered a new genre of gendered horror.
Retrieved from AV Club: https://film.avclub.com/50-years-ago-repulsion-pioneered-a-new-
genre-of-gender-1798285951

SMALLEY, G. J. (2008, October 8). 3. REPULSION (1965). Retrieved from 366 Weird Movies:
https://366weirdmovies.com/repulsion-1965/

Truffot, D. (2018, March 22). The Eye Boundary: Repulsion. Retrieved from senses of Cinema :
http://sensesofcinema.com/2018/cteq/the-eye-boundary-repulsion/

Illustration List

Fig 1. Poster for Repulsion (1965) [Poster] At: https://www.imdb.com/title/tt0059646/ Created On: 1st
April 2003 Accessed On: 14/12/2018

Fig 2. Still of an eye from the film (1965) [Image] At: https://mattystanfield.com/2015/10/21/the-
cracks-that-cant-be-mended-or-polanskis-repulsion/ Created: 22/10/2015 Accessed: 14/12/2018

Fig 3. Cracks (1965) [Image] At: https://monstermoviemusic.blogspot.com/2014/05/repulsion-chico-

hamilton-gabor-szabo.html Created: 31/05/2018 Accessed on: 14/12/2018

Fig 4. The rotten rabbit (1965) [Image] At:

https://www.pinterest.co.uk/pin/116530709088606165/?lp=true Created: 23/04/2015 Accessed on:

14/12/2018