Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod


De Palma Discussion


Recent Headlines
a la Mod:

-De Palma to shoot
Domino this summer

-De Palma attached
to The Truth and
Other Lies

Washington Post
review of Keesey book


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book


« October 2013 »
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags


The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
All topics ал
Ambrose Chapel
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Cinema Studies
Columbo - Shooting Script
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dionysus In '69
Dressed To Kill
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
Get To Know Your Rabbit
Happy Valley
Havana Film Fest
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Oliver Stone
Paranormal Activity 2
Parties & Premieres
Paul Hirsch
Paul Schrader
Pauline Kael
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Responsive Eye
Rie Rasmussen
Robert De Niro
Sean Penn
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Taxi Driver
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Monday, October 21, 2013
Armond White posted his review of Kimberly Peirce's Carrie yesterday, with the subheadline, "DePalma’s classic trashed in latest remake." White starts by stating that two cultural events made it "impossible" for Peirce to direct a remake that could live up to Brian De Palma's Carrie: political correctness and TV style.

"Peirce directs this remake with a depressing, plot-oriented single-mindedness," White writes. "That’s what political correctness and TV style have led to: a version of Carrie that is reduced to a few faint lesbian teases and feminist alarum (Carrie’s fanatical, repressed mother is a cutter who injures herself) and an anti-bullying message (at an inquest following the prom massacre). This desperately commercial, simplistic interpretation of Stephen King’s story offers none of the sensuality or boldness of Pierce’s debut film, Boys Don’t Cry. Peirce’s Carrie truly is a horror story, just an occasion for snarky meanness, grisliness and mayhem–as in the revenge Carrie takes on the couple that plotted against her: the entire automobile demolition is shown methodically, no longer an impulsive act with a edge of vengeance but calculated brutality like today’s sadistic horror films.

"DePalma’s horny-visionary humor is what made Carrie so American American–a horror satire but with deep feeling and real ambivalence. The mother’s warning 'They’re all gonna laugh at you!' did double-duty. It’s a hallmark of the 70s era that a film as funny as Carrie could also be so heartbreaking. DePalma’s Carrie transcended its Grand Guignol genre, but no one’s gonna laugh or cry at this literal-minded remake. The pig-slaughter scene ('Choose one that looks like Carrie') becomes a moment of mean-girl internalized self-hatred and the bucket-of-bloodbath is repeated three we-got-the-point times. TV-obviousness striking again and again and again.

"Stefan Sharff, the great film theoretician, devoted an entire class of his 'Analysis of Film Language Course' at Columbia University to DePalma’s Carrie (at my suggestion, and my everlasting gratitude). Sad that Columbia Film School graduate Peirce remakes Carrie using such meager film language.

"It was DePalma’s satirical sensibility that gave unexpected complexity to Stephen King’s potboiler, plus DePalma’s visual wit added layers of meaning through art and pop cultural references. The Pre-Raphaelite close-ups (of Sissy Spacek, Piper Laurie, William Katt, Amy Irving, Nancy Allen) allowed DePalma to raise the mystical elements of the story to an esthetic richness that resolved the theme of repressed sexuality. (The mother’s lush hair suggested her innate sensuality but is made stringy and witchy here.) Depicting Carrie’s forced closet penitence, DePalma’s great cinephilia reached back to evoke Lillian Gish’s anguish in D.W. Griffith’s Broken Blossoms and for the mother’s orgasmic death he reached forward, outdoing Luis Bunuel’s wildest iconography.

"All this is why DePalma’s Carrie ranks as one of the great American movies and its characters are cultural archetypes–despite a previous remake, a Broadway musical and sequel, DePalma’s film has had huge influence stretching from P.J. Harvey to the excellent recent Disney film Prom. DePalma’s Carrie is one of those films where everything went right but except for Chloe Grace Moretz’s sweetly vulnerable expressions, everything in Pierce’s remake goes flat."

Posted by Geoff at 10:25 PM CDT
Updated: Monday, October 21, 2013 10:27 PM CDT
Post Comment | Permalink | Share This Post

View Latest Entries