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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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Sunday, October 16, 2016
'BONFIRE' SERIES IN DEVELOPMENT AT WB/AMAZON
CHUCK LORRE BEHIND 8-PART "REBOOT"; TOM WOLFE JUST FOUND OUT FROM COLUMNIST
On Friday, The Hollywood Reporter's Lesley Goldberg and Kate Stanhope reported an exclusive that Chuck Lorre is developing an 8-part event mini-series adaptation of Tom Wolfe's The Bonfire Of The Vanities. Lorre is "under a rich overall deal" with Warner Bros. Television, according to Goldberg and Stanhope, where the project stems from. It had been shopped to cable and streaming outlets, and has now been picked up for development by Amazon.

According to the report, which attempts to attach the buzzword "reboot" to the project, "Margaret Nagle (Boardwalk Empire, Red Band Society) is set to pen the script and exec produce alongside Lorre. Author and political reporter David Corn will serve as a consultant. Amazon Studios, WBTV and Chuck Lorre Productions are the producers on it."

Meanwhile, according to Showbiz 411's Roger Friedman, Wolfe himself knew nothing of the new project until Friedman called him up to ask him about it. "I guess he’s calling his agents on Monday," Friedman surmises.

THE FILM STAGE: DE PALMA'S 'BONFIRE' DESERVES MORE RECOGNITION

Last month, The Film Stage's Jonah Jeng wrote an essay in defense of Brian De Palma's 1990 feature adaptation of Wolfe's book. "De Palma’s confident, hilarious polemic is a formidable achievement, hitting places that hurt in 1990 and, sadly, continue to hurt today," Jeng states. "That the film feels like it was made for the 2016 moment is a depressing testament to the state of race relations in America, but it is also precisely this continued relevancy that makes Bonfire necessary viewing."

A bit later in the essay, Jeng discusses how De Palma's style fits with the absurdity on display in the film:

"Some satire is subtle in its magnifications of reality. The Bonfire of the Vanities takes a different, more boisterous route, fitting De Palma’s florid directorial tendencies like a glove. Scenes turn to farce to convey the moral absurdity of the characters’ actions, whether in Abe’s wild gesticulations or in the way we are introduced to the Reverend via a very Spike Lee-esque, low-angle shot that imparts onto him the exaggeratedly looming presence of a cartoon villain. De Palma’s cinematographic stylizations, so generative of suspense in Sisters and operatic in Scarface, here serve a different but no less meaningful purpose. The camerawork is sometimes highly precise in its satirical function, such as when a dolly zoom is used to parody the experience of white fear. At other points, the cinematography creates the more abstract impression that the camera is emulating this film’s plot-level zaniness. Often, De Palma appears to be channeling the story’s ludicrous energy by way of his trademark visual acrobatics — weird camera angles, split diopter shots, long takes, etc. — which, in turn, intensify the energy that gave rise to them."


Posted by Geoff at 11:58 PM CDT
Updated: Monday, October 17, 2016 8:05 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Monday, October 17, 2016 - 4:24 PM CDT

Name: "harry georgatos"

As much as I love the visual stylization of the film the film didn't connect with audience because the movie deviated wildly from Tom Wolfe's novel.

It wasn't what audience expected from an unfilmmable novel.

Tom Hanks was badly miscast as De Palma tried to bring redeeming qualities to Sherman McCoy that wasn't there in the book. Sherman in the book was an arrogant elitist snob without any redeeming qualities.

William Hurt would have been my perfect choice for Sherman McCoy. 

What I like about the film is De Palma's masterful visual planning which borders on a wildly cartoon mayhem of race relations at the time and still relevant today. 

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