O Monstro de Londres

Dirk Bogarde attempts to mug Alexander Knox at gunpoint in a dark London street. Knox overcomes him by twisting his arm. Next, Alexis Smith, Knox's wife, comes home from a trip to Paris, sees Bogarde in her house, assumes he is one of her psychiatrist husband's patients, but is told that he is a criminal who is living under her roof for six months as an experiment in criminal rehabilitation which her husband is carrying out as a humane alternative to sending the young man to jail. She accepts the arrangement with barely a shrug. Bogarde immediately proceeds to verbally and physically abuse the house maid and act rudely toward Smith. Yet for some reason she is attracted to him and soon they are having a hot affair under the husband's nose. And on and on it goes. One startling development after another. There are elements of the overly simplistic psychiatric rehab genre reminiscent of Hollywood classics like Now, Voyager and Spellbound but with a more realistic look and feel. The music is intense and draws attention to itself, from the cacophonous noise that Smith listens to on her home record player to the sizzling live jazz at the Soho dive where she goes to loosen up with her secret lover. Bogarde is supposed to be a low-life criminal but his polished accent and genteel mannerisms seem thoroughly middle-class and this is never explained. Alexander Knox seems made of wood yet is somehow believable as the kind of intellectually preoccupied and unflappable person who just might come up with the idea of inviting a mugger into his home as an eccentric form of research. And Smith, icily self-contained at the beginning, gradually gets a chance to do some dynamic emoting. She's very good in this. The title of the film symbolizes the wild impulses that sleep within us, waiting to be awakened. From the 2007 vantage point there are no important or original social or intellectual insights here but the way the film is edited, photographed and scored are deliberately jarring without distracting from the film's intent. Losey wants to shake us up and he succeeds.