Der Mann, der zweimal getötet wurde

Peculiar film which mixes murder-mystery with the supernatural concept of reincarnation, along with a large dose of early-70's movie sexuality. I saw this several times years ago on TV, and was quite impressed with it, somewhat against my will; now I wish that I could see it again. It is deeply and disturbingly creepy at points, and contains chilling scenes which I will never forget; it has the quality of a bad dream that you can't quite get out of your mind. At the same time, it is not in any way a typical "horror" or fantasy film; in an odd way it is somewhat subtle and intellectual without being at all high-brow (the lead character is an inquisitive college professor).

The main protagonists are played by Michael Sarrazin and Margot Kidder (both Canadians). Sarrazin was becoming quite popular at the time, and something of an unlikely heart-throb, but his career later fizzled out. His rather sleepy and laid-back acting style works well here. Kidder at first seems bizarrely and very severely mis-cast playing a far older alchoholic widow, but her performance begins to get under your skin once you get past the terrible age-makeup that was used on her (she plays her own age in flashbacks). She was actually much younger than Sarrazin at the time, and the same age as the radiant Jennifer O'Neill who plays her adult daughter. It would be interesting to know the behind-the-scenes info on the casting decisions.

The production is rather slow-moving, although it eventually gathers speed and certainly ends with a bang! Unfortunately, as a whole the thing never quite works. It probably could be a much more interesting and intense film, and I have read that Paramount has acquired the rights for a remake.

Originally available on both VHS tape and LaserDisc.

All - everyone - give outstanding performances in this terrifically terrifying story of reincarnation. I was about 3 years old when this film came out but was introduced to it as a pre-teen or teen. Anyway I saw it a handful of times as a teen and watching it again all these years later I have to say the film still gives me the chills.

Peter Proud has nightmares, he seeks help in a dream clinic and later he and a friend feel he must be experiencing flashbacks of a previous life - Jeff Curtis. Peter sets off on a journey to find out who Jeff Curtis was and why he was murdered before.

The film is a little graphic at times, mainly with sex, rape and murder - but that is NOT all there is to this film - it's mainly Peter "finding himself" or should I say "finding Jeff Curtis".

9/10

Popular for about 6 months on first release in 1975 and never seen or heard of again, this sort of creepy thriller was effective enough for 19 year olds who thought they might need a warm up for AUDERY ROSE or a re-zap after THE EXORCIST. Michael Sarrazin was an interesting 30 something actor who looked as though he was about to be a big star. THE'RE'S ONE BORN EVERY MINUTE (check US title) with George.C Scott, THEY SHOOT HORSES with Jane Fonda, then FOR PETE'S SAKE with Streisand(!), this thing and then a slide into B movie oblivion. He acted with some of the biggest and most durable stars of the 60s and 70s. Nobody knows him today in current filmdom and I would be keen to see how he has fared. Like the co stars here: Jennifer O'Neill the gorgeous woman from THE SUMMER OF 42 (also a forgotten film, huge in 1972, as were her three young co stars) and the derailed Margo Kidder whose SISTERS to SUPERMAN rocket to fame was only matched by her plummet to earth. Maybe PETER PROUD cursed them all and nobody's career was reincarnated either. Sad for all concerned. Each were interesting actors and all their films worth seeing. Even this one.

I recently watched "The Reincarnation of Peter Proud" on Youtube 40 years after I saw it in a theater.Reincarnation is a complicated subject, but the film does a fairly good job of explaining some of its intricacies.

Peter Proud (Michael Sarrazin) begins having strange dreams of people that he has never met and places he has never been to. In order to find some peace, he goes in search of the images in his dreams and finds them in a town in Massachusetts.

I really enjoyed the slow unraveling of the mystery and the performances are great, especially Margot Kidder as a widow with a terrible secret.

In the 1960's and 1970's, a wave of interest in the occult and the supernatural swept popular culture in the United States, Canada, and parts of Europe. Many books appeared on subjects such as telepathy, mysticism, pantheism, possession and exorcism, and reincarnation. Even rock bands such as Black Sabbath and Blue Oyster Cult rode the waves and even created their own sub-cultures, forging highways of exploration into unknown and mystical territories. Such wide-spread appeal on these taboo subjects would have been nearly unthinkable only a couple of decades earlier. Eventually films began to appear which mirrored the tastes of younger audiences interested in these subjects, such as Rosemary's Baby, the Exorcist, and the present film, The Reincarnation of Peter Proud.

Peter Proud (Michael Sarrazin in a very convincing performance), a young professor of about 30 years old living in California, isn't having dreams. He's having vivid image-visions of miscellaneous episodes instead of dreams while he sleeps. He sees vivid images of bridges, monuments, buildings, churches, and houses in color of places he's never been. And he sees people he's never met. Most people dream in surreal settings where houses are distorted and even the laws of nature can be thwarted, but most often occupied by people from their lives, such as family, friends and lovers with the occasional supporting character. However, Proud's dreams are for the most part more like visions of another life than surreal dreams. For example, he sees a child running down the stairs of a house to school while his mother plays the piano. Of all these vision-dreams, one in particular is the most disturbing. He witnesses the murder of a young man in a lake at the hands of a lover of some sort he has spurned. And when this vision-dream occurs while he's asleep, he speaks with the voice of the man being murdered, which freaks out his girlfriend.

Because he's not really dreaming but having visions, he's become irritable and seeks psychiatric help. The psychiatrists use him as a kind of lab rat in their experiments on sleeping and dreaming, they and determine he's not dreaming as normal. Although, Proud insists his visions are real. Then by chance he sees a documentary about small New England towns, and he notices a couple of buildings which appear strikingly similar to the ones in his dreams. He decides to investigate. He drags his live-in girlfriend to Massachusetts where they wander around the state looking for the town. He finally finds it, but his girlfriend returns to the West Coast.

Proud then begins to do more investigating, and he finds the house which appears the same as the one in which there was a little boy and his mother. He then explores newspaper records and finds a man was drowned in the 1940's just after the war in a lake near the town. The record says it was an accident but the vision implies the man was in fact murdered. He discovers the name and begins asking older locals about who this man was. He meets the deceased's daughter at a local tennis club and eventually meets the man's widow played by Margot Kidder in an equally compelling performance. The man's widow appears like an older version of the woman in the vision. Could this be the man who Peter Proud was in a previous life? His psychiatrist friend from California wants to document Proud's findings, but Proud is reluctant to reveal his discoveries.

Certainly not for all tastes, but this is a very compelling mystery-thriller with quasi-supernatural elements. There is very little action, save the recurring vision of the murder, and the climactic ending. Much of the film is about Proud's investigations and his eventual relationship with the murdered man's daughter. Spooky electronic music, similar in style to music in other films of the period, such as "Escape to Witch Mountain", are often used when Proud sees a building and there's a flash to his dream-visions.

Two larger questions are asked by the film. Did we live in previous lives? And, if we did, the more frightening question posed: is it in our best interests to discover who we may have been or leave well enough alone, as the old saying goes? Reincarnation and other questions about life after death are still popular, but the present film fed into an audience which was very hungry for this kind of material during the 1970's.