One of the stranger, often overlooked bits of film lore from Roman Polanski’s early British period is tactile rather than cerebral: the disembodied hands that thrust through the plaster to menace Catherine Deneuve in Repulsion (1965). Those hands were not a special effect or Polanski himself but the hands of Hercules Bellville, the American-born English-raised assistant who met Polanski in 1964 and became his right-hand man on films such as Repulsion and Cul-de-Sac. Bellville was working in a creative, operational capacity — assisting Polanski on set and even supplying physical performances for small but chilling moments. That menacing appendage is a tiny, creepy credit that has followed Bellville’s reputation among cinephiles and cult-film historians: a concrete link between the film’s claustrophobic psychic horror and the anonymous shopfloor labor of an assistant director. The fact is verifiable in production histories and obituaries: this is not an urban myth but a piece of production trivia that illuminates how Polanski’s psychologically precise mise-en-scène was achieved by close collaborators like Bellville.
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