Film Review: Bunny Lake Is Missing (1965)

The 1960s produced a wealth of films that have since been considered strong contenders for the prestigious title of “the best Hitchcock film Hitchcock never made.” This is hardly surprising, given that it was during this decade that Alfred Hitchcock reached the zenith of his commercial success and critical acclaim. As Hitchcock became an object of worship and deep analysis by critics, his distinctive style and thematic preoccupations provided a ready-made template for other filmmakers to emulate. Among the directors who drew inspiration from Hitchcock’s legacy, some were already accomplished auteurs in their own right. One such notable figure is Otto Preminger, whose 1965 thriller Bunny Lake Is Missing boasts a premise that seems tailor-made for the Master of Suspense himself. The film, with its themes of psychological tension, maternal anxiety, and urban paranoia, appears to be a deliberate homage to Hitchcock’s oeuvre, even if it ultimately falls short of matching his genius.

The film is based on the eponymous 1957 novel by Merriam Modell, originally published under the pseudonym “Evelyn Piper.” Preminger, who acquired the film rights as a producer, initially struggled to adapt the source material effectively. It was only after enlisting the talents of British author John Mortimer and his wife Penelope as screenwriters that the project gained momentum. The Mortimers made significant changes to the novel, including altering the ending and, most crucially, relocating the story from New York City to London.

The protagonist, Annie Lake, portrayed by Carol Lynley, is a young single mother who has recently moved to London from New York City with her four-year-old daughter, Felicia, affectionately known as Bunny. Annie is set to join her brother, Steven “Stevie” Lake (played by Keir Dullea), a magazine reporter working in London. The plot kicks into gear when Annie, after settling into her newly rented flat, arrives at the Little People’s Garden pre-school to collect Bunny, only to discover that her daughter is missing. To compound her distress, no one at the school recalls ever having seen Bunny, casting doubt on the child’s very existence. The police are called in, and Superintendant Newsome (Laurence Olivier) takes charge of the investigation. As the story unfolds, disturbing revelations about Annie’s past emerge, leading Newsome to entertain the possibility that Bunny may be a figment of Annie’s imagination, a product of her potentially unstable mental state.

The central premise of Bunny Lake Is Missing, inspired by an old urban legend, is not particularly original and has been employed in numerous thrillers both before and since, including Hitchcock’s own The Lady Vanishes (1938). What sets Preminger’s film apart is its distinctive stylistic approach, characterised by long takes and a deliberate pacing that amplifies the sense of unease. The London setting is also used to great effect, emphasising Annie’s vulnerability as a foreigner in a vast, impersonal city. This geographical shift heightens the film’s atmosphere of paranoia and alienation, themes that Hitchcock himself frequently explored.

Despite its well-conceived premise and Preminger’s reputation as a solid director, the execution of Bunny Lake Is Missing leaves much to be desired. The film devolves into a conventional mystery, only to undermine its own efforts with a surprise plot twist that feels contrived and ineffective. One of the main issues lies in the overuse of red herrings and misdirection. The narrative repeatedly suggests that Annie may be delusional, while also introducing a parade of sinister and eccentric characters who could potentially be responsible for Bunny’s disappearance. Noel Coward, in particular, delivers a memorably unsettling performance as Annie’s lecherous landlord, a character so overtly suspicious that he all but announces himself as a red herring. By the time the mystery is resolved, the cumulative effect of these narrative choices makes the film feel more like a black comedy than a genuine thriller.

That said, Bunny Lake Is Missing is not without its merits. The film serves as a fascinating time capsule of mid-1960s London, capturing the zeitgeist of the emerging Swinging London era. In one memorable scene, Annie visits a pub where The Zombies, one of the era’s most popular rock bands, perform their hit song “Just Out of Reach” on television. The lyrics of the song, which speak of longing and loss, cleverly mirror the film’s themes. Additionally, the inclusion of a 1965 Sunbeam Tiger sports car not only advances the plot but also firmly anchors the story in its specific historical moment, offering a treat for fans of the period.

Preminger also uses the film to continue his long-standing crusade against the restrictive MPAA Production Code. In one scene, characters explicitly mention the word “abortion,” a topic that was strictly prohibited under the Code. By 1965, however, enforcement of such prohibitions had become increasingly lax, and the censors allowed the dialogue to remain in the film.

While Bunny Lake Is Missing may disappoint in some respects, it remains a solid film thanks to its strong cast. Carol Lynley delivers a compelling performance as the beleaguered Annie, effectively conveying her character’s desperation and fragility. Keir Dullea is equally impressive as the overprotective Stevie, and it was his work in this film that reportedly caught the attention of Stanley Kubrick, leading to his casting as Dave Bowman in 2001: A Space Odyssey. Laurence Olivier, despite his well-documented clashes with Preminger on set, brings gravitas to the role of Superintendant Newsome, portraying the detective as a level-headed and methodical investigator.

In the end, Bunny Lake Is Missing is a film that tantalises with its potential but ultimately falls short of greatness. While it borrows heavily from Hitchcock’s playbook and boasts a strong premise, its execution is marred by an over-reliance on misdirection and a lacklustre resolution. Nevertheless, the film remains an intriguing artefact of its time, offering a glimpse into the cultural and social milieu of 1960s London.

RATING: 6/10 (++)

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