Glatt rasiert

one of my alltime-favorites!! I´ve seen it years ago and it still haunts me. this is what real film-making is about, this is how it is supposed to be. lodge kerrigan is a true master, and it´s a pity he hasn´t done anything in years, except CLAIRE DOLAN which is true genius as well. peter "zed" greene gives a landmark performance and it seems that he suffers the same fate like malcolm mcdowell after CLOCKWORK ORANGE: being one of the best but underrated actors of his time but without a second chance to prove it.

anyway, if you wanna "feel" - not just see - what mental illness is all about, check this out.

A scary, sad and terribly depressing movie. All of the performances are extremely true-to-life. The only thing I felt hurt this movie was the pacing, which was irregular at certain points. The camera work was very unusual.

If you've ever wanted a glimpse inside the head of a schizophrenic (which I doubt), this is the film. This movie dares to deal with subject matter that Hollywood would normally never touch. It is not an entertaining film and is extremely difficult to watch, but everything that happened in the movie could easily happen in "real life." There is nothing phony here, nothing pretensive, just an incredibly realistic portrayal of the pain of everyday life, and especially the pain of one young schizophrenic man.

I gave this movie 7/10 for its pacing and somewhat weak plot, yet in a sense it deserves a much higher rating. I gave it 7/10 because I didn't enjoy it... yet it was difficult to tear my eyes away at times. The last 30 minutes of the film are the best... the pacing improves, and the story is at last resolved. I breathed a sigh of relief when this movie ended. This kind of gritty realism is just too hard to watch, but its uncompromising honesty is worthy of a great deal of credit. Painful and difficult to watch, but if you like a film that is utterly honest and doesn't play with your emotions, I recommend you see it. Not for the faint of heart, though.

I rented this movie a few years ago, and fell in love with it. Peter Greene steps out of his normal "tough, bad guy" Hollywood roles to play a sensitive father handicapped by schizophrenia.He is recently released from a hospital and reuniting with his daughter becomes his main focus.Unfortunately, we soon learn that its hard for him to focus as sweet hope soon turns tragic. All he wants is to be a good father, something his ailment makes him incapable of. I love the way the director visualizes the schizophrenic moments. If you are looking for something off the beaten path I highly recommend it. 10/10stars

Peter Winter (Peter Greene) is a tormented schizophrenic man who is let out of a hospital despite suffering from extreme symptoms of nearly continuous auditory hallucinations, paranoia, and a highly fragmented, discontinuous sense of reality. His one steady goal is to find his young daughter, Nicole (Jennifer MacDonald), who has begun a new life as an adoptee, following the murder of her mother. Peter first visits his own mother, a taciturn, emotionally withholding woman who is not at all pleased to see him. Later he discovers his daughter's whereabouts, when her adoptive mother brings Nicole to visit her grandmother (who is as chilly toward Nicole as she is toward Peter). Meanwhile, a police detective (Robert Albert), searching for a serial child killer, has concluded that Peter is his man. A fateful ending is set up when the detective encounters Peter with Nicole at an isolated beach.

There are serious flaws in this film: the screenplay is not well wrought and is too full of ambiguities, especially the entire serial child killing subplot. This is highly distracting. The acting is second rate, except for Greene's and MacDonald's performances. The film's strength lies in Kerrigan's insightful deployment of sound, setting and other effects to create the clinical realism of Peter's schizophrenic experience. Peter's intense, perpetual fear is palpable. Much of the film is shot in his car, where he has placed masking tape over the mirror, and newspaper over several windows, to fortify his privacy. The effect is an impacted atmosphere of paranoid insulation. Peter's hallucinated auditory experience – garbled voices, static and other noise, unaccompanied by any visual representations – is clinically valid. The voices and noise haunt him steadily. He tells Nicole he has had a radio device implanted in his head, with a transmitter in a fingernail. Earlier we had been exposed to his violent efforts to rid himself of these devices using scissors or a knife to gouge them out – forms of delusion-driven self-mutilation that are uncommon but not rare in persons suffering the throes of severe acute psychotic episodes. The use of tight close up camera angles - viewing Peter from just behind his back or in profile in his car - heighten the sense of claustrophobia, the extreme narrowing of Peter's psychotic world. The setting - Miscou Island, in New Brunswick – adds further accents of wildness and isolation to the overall tone of the film.

It can be argued that the detective's pursuit of Peter adds yet another source of paranoid fever to the film, though for me this conceit does not ring true. The fact that someone really is after Peter detracts from the power of his delusions. Other than this, Kerrigan can be congratulated for steering clear of the false visuals (realistically visualized imaginary friends and enemies) and other clinically implausible effects that Ron Howard used more recently in A Beautiful Mind. Anyone – professional or lay viewer – might rightly wonder how Peter could be discharged from the hospital in such poor psychiatric condition. Of course that happens every day in most contemporary short stay hospital settings, because involuntary treatment laws in most states prohibit keeping patients against their will except in the most extreme circumstances of immediate potential for violence. But we are given the impression at the start of this film that Peter had been incarcerated in a more traditional mental hospital, the sort in which people stay for long periods before discharge, until they appear relatively free of symptoms, sometimes longer. Of course these large old facilities are typically short staffed, keen clinical observation of patients may be scarce, and patients not uncommonly can muster a façade of normality to win their freedom.

The depiction of Peter's mother is also troublesome. Her grim withholding of affection for Peter and Nicole resurrects the spectra of the 'schizophrenogenic mother' – a psycho dynamic fiction popular the 1950s and 60s that accused parents, especially mothers, of causing schizophrenia through self serving, unaffectionate regard for their children. This myth was laid to rest long ago, and it is a black mark against this film to see such a notion resurrected. It does not dispel the power of this negative maternal portrayal when, from a distance, we see the mother crying as she hangs one of her son's shirts on a clothesline near the end.

Clean, Shaven shares with David Cronenberg's film, Spider, the distinction of offering the most believable portraits of highly symptomatic schizophrenic experience that have been brought to the big screen. I prefer Spider because the acting is uniformly first rate and the screenplay is superior. Both films pull the viewer into an exquisitely painful, odd, lonely, and ultimately unrewarding world, into experiences that many moviegoers would, no doubt, prefer to avoid. Dramatically, this is a "C" movie, but the portrayal of schizophrenia rates an "A."

sorry, this isn't a Hollywood movie about schizophrenia, its not a killer/thriller, its not a gross~out picture, and its not boring. Not being schizophrenic myself i can't attest to the strict accuracy of the impression one is left with. All I can say for sure is that this is without question one of the most strangely beautiful, compassionate, powerful pieces of art i have ever seen.

The story is ultimately incredibly frustrating and deeply tragic, much like the life of its protagonist; poignant and scary start to finish. the cinematography captures the absurd beauty of the natural world and juxtaposes it with the terrifying strangeness of feeling utterly disconnected therefrom. Peter suffers from random auditory hallucinations, so we do to. He is deeply paranoid and almost utterly lost in the world; its clear someone is out to get him, and we are never sure whether he actually hurt anyone or not.

If you want to be spoon~fed something you've already experienced many times before, this isn't the movie for you. But if you appreciate being challenged, forced even, to see the world through a very different lens, you should really see this movie if you haven't already.