Peeping Tom (1960), directed by Michael Powell with a score by Brian Easdale among his last major film assignments, erupted into one of British cinema's fiercest critical scandals. Critics at the time reacted not merely with disapproval but with moral outrage at the film's voyeuristic subject and brutal psychological portrait; the resulting storm wrecked Powell's reputation in Britain almost overnight. For Easdale this tempest arrived at a particularly fragile moment — his decade-long run as a sought‑after film composer came to an end in the early 1960s — and the toxic press climate around Peeping Tom helped to taint the standing of many who had been associated with the film. While Easdale had notable credits both before and after (The Red Shoes, Black Narcissus), the hostile environment created by the Peeping Tom controversy coincided with the close of his mainstream film career and pushed him back toward the concert hall.
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