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

De Palma a la Mod

E-mail
Geoffsongs@aol.com

De Palma Discussion
Forum


Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

------------

Warren Beatty's
Howard Hughes
moving forward

Filmmaker Mike
Cahill believes
he has world's
first double-
vertigo shot

Rie Rasmussen
to direct remake
of Cronenberg's
Shivers

Mentor Tarantino
says she's the "perfect
choice" to direct

AV Club Review
of Dumas book

Spielberg Predicts
'Implosion' of
Film Industry

Scorsese tests
new Zaillian
script for
The Irishman
with De Niro,
Pacino, Pesci

James Franco
plans to direct
& star in
adaptation of Ellroy's
American Tabloid

Coppola on
his recent films:
"What I was
trying to do with
those films was to
make three student
films in order to
try and set a new
trajectory and try to
say, 'Well, what
happens if I have no
resources?' Now, having
done that, my new
work is going to be
much more ambitious
and bigger in scope and
budget and ambition,
but now building on a
new confidence or
assurance. The three
little films were very
useful. I'm glad I did
it. I hope George Lucas
does it, because he
has a wonderful personal
filmmaking ability that
people haven't seen
for a while."

Sean Penn to
direct De Niro
as raging comic
in The Comedian

Scarlett to make
directorial feature
debut with
Capote story

Keith Gordon
teaming up
with C. Nolan for
supernatural
thriller that
he will write
and direct

Recent Headlines
a la Mod:

-Picture emerging
for Happy Valley

-De Palma's new
project with
Said Ben Said

-De Palma to team
with Pacino & Pressman
for Paterno film
Happy Valley

« November 2010 »
S M T W T F S
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

Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

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

Directorama

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
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

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

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

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
Ambrose Chapel
BAMcinématek
Bart De Palma
Becoming Visionary
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Columbo - Shooting Script
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dionysus In '69
Dressed To Kill
Eric Schwab
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Get To Know Your Rabbit
Greetings
Happy Valley
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Key Man, The
Lithgow
Magic Hour
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Obsession
Oliver Stone
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Rie Rasmussen
Robert De Niro
Sakamoto
Scarface
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Tabloid
Tarantino
Toronto Film Fest
Toyer
Treasure Sierra Madre
Tru Blu
TV Appearances
Untouchables
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
Saturday, November 6, 2010
JILL CLAYBURGH DIES
OSCAR-NOMINATED ACTRESS BATTLED CHRONIC LYMPHOCYTIC LEUKEMIA

Jill Clayburgh, who starred as the bride in Brian De Palma's first feature The Wedding Party, died Friday at her home in Lakeville, Connecticut, according to the Hollywood Reporter. She was 66 years old, and had been quietly battling chronic lymphocytic leukemia for 21 years, according to her husband, David Rabe, speaking to the Associated Press. At Sarah Lawrence College in the early 1960s, Clayburgh met and dated De Palma, where they made The Wedding Party with mentor Wilford Leach. The film also featured Robert DeNiro, William Finley, and Jennifer Salt. In an interview for Sarah Lawrence College's alumni magazine in 2007, Clayburgh explained how she steered herself toward the theatre, and, eventually, films:

I did theatre because I hated gym. It wasn’t like now, when everybody is thinking about what they’re going to be. I went to an all-girls’ school in New York City and the theatre was at the boy’s school, so I went there to hang around with the boys – not because I thought, ‘I’m going to be ACTRESS.’ It let me get out of horrible gym, but it was no great, overwhelming drive to act. And then I got very tall and I kept getting the boys’ parts and I didn’t like that. So I stopped acting.

At Sarah Lawrence, I started off concentrating in religion and philosophy, but then I did a summer apprenticeship at Williamstown – it’s a fabulous program that they have – and I just fell in love with the theatre.

I did plays at Sarah Lawrence with Wilford Leach, who subsequently became a director at the Public Theater with Joe Papp, and I also worked with John Braswell. So I had Will and John and Brian De Palma [SLC/M.A. ’64], who was one of our first male students – in fact, he was one of the few men around. He directed and did some of his earliest movies there. I dated him and worked with him. We did a movie called The Wedding Party. It was a collaboration with Will and Brian. John was in it too, and Robert De Niro, who used to come up from the City and do shows at SLC. What Will was doing was so off the radar; it was as if he had his own theatre chemistry lab at the College.

FROM THE WEDDING PARTY TO BRIDESMAIDS
[Clayburgh and De Palma are pictured here from 1976]

Clayburgh went on to appear in several Broadway productions and films, and really made her mark in Paul Mazursky's An Unmarried Woman in 1978, which garnered her first Oscar nomination. The following year, she was nominated again for her role in Alan J. Pakula's Starting Over. These two roles solidified Clayburgh as a symbol of the growing feminist movement in the 1970s.

Clayburgh, Rabe, and De Palma have remained friends throughout the years (as recently as three years ago, Rabe revised a draft of the screenplay for De Palma's still-in-development Untouchables prequel). Clayburgh once dated Al Pacino, with whom she starred in an off-Broadway production of The Indian Wants the Bronx in 1968. Recently, her daughter, Lily Rabe, had been co-starring with Pacino in a Broadway production of The Merchant of Venice (Rabe is taking a week-long leave of absence from the show, which is pushing its official opening night from November 7th to November 15th). Clayburgh had been appearing in several stage productions of late, as well as taking on various film and TV roles, including Nip/Tuck, for which Jennifer Salt was a producer/writer.

Clayburgh can be seen back in theaters later this month when Edward Zwick's Love & Other Drugs opens November 24th. Clayburgh's movie career will perhaps come full circle with her final film role next May, in Paul Feig's Bridesmaids, a comedy in which two women battle to plan their friend's wedding party.


Posted by Geoff at 11:01 AM CDT
Updated: Saturday, November 6, 2010 2:56 PM CDT
Post Comment | Permalink | Share This Post
Friday, November 5, 2010
CLUE SUGGESTS CRITERION BLOW OUT
The Playlist's Drew Taylor speculates that a new clue from Criterion hints that a new DVD package of Brian De Palma's Blow Out may be on the way soon. A very welcome idea, as the film has been out of print on DVD for some time now.

Posted by Geoff at 1:51 PM CDT
Post Comment | View Comments (15) | Permalink | Share This Post
Thursday, October 28, 2010
IF IT'S OCTOBER, IT MUST BE CARRIE
SCREENING IN NEW YORK THIS WEEKEND, TOP HORROR FILMS, ETC., ETC.

Brian De Palma's Carrie will screen Saturday night as part of the Film Society Of Lincoln Center's "Scary Movies 4" series in New York this weekend. In the meantime, the film has been mentioned in numerous top horror lists the past couple of weeks, so here is a rundown:

As part of its Film Season 2010, The Guardian has chosen Carrie as the 24th best horror film of all time. The paper's Phelim O'Neill states, "Thanks to [Sissy] Spacek and De Palma, this is one horror film that's as likely to make you cry as it is to make you scream (and it will definitely make you jump, no matter how many times you rewatch that scene)." Wired asked the gang from Fangoria to name the 25 best horror films of all time, and of course Carrie made the un-numbered list. Here is what they said about De Palma's film:

Chris Alexander: Sad, stylish and shocking Brian De Palma-directed melodrama improves upon Stephen King's novel and offers a revelatory performance by Sissy Spacek as a tormented teen cursed with telekinesis. Moving Pino Donnagio score and a head-spinning last reel (and final shot!).

Michael Gingold: Thanks to King and De Palma, countless people don't feel so bad about how their own proms went.

Bekah McKendry: This movie offered a shockingly real depiction of what it is like for girls to come of age in sexually repressive environments ... minus the telekinesis, which, if I had possessed it during my teen years, I would have used to mentally smack up bitches left and right.

Sam Zimmerman: I've always been oddly attracted and emotionally drawn to tales of damaged female protagonists, and that can probably be traced back to my extreme love of this film. (P.S. You should see its contemporary spiritual soul mate, May, starring Angela Bettis and directed by Lucky McKee. It's marvelous.)

Greatbong includes Carrie on his list of top 10 horror movies, opining, "What makes Carrie for me a cut above the more famous Exorcist is that while the latter’s shock value lies in its depiction of religious blasphemy (personally which left me cold), Carrie is unique in the way it brings out the horror of school life, the relentless cruelty shown by the cool kids to those socially awkward, a reflection of the essential sadism of human nature." And finally, Obsessed With Film's Dan Owen places Carrie at number 8 in his top 10 horror movies list, stating that "Brian De Palma’s seminal horror is a brilliant piece of work, probably because it takes its time getting you into the mindset of the bullied Carrie."

SPLIT SCREEN AS "CINEMATIC MEAT GRINDER"
One of the best of the recent essays about Carrie was posted by Bryce Wilson at Things That Don't Suck. Wilson writes, "One of the things that has always set De Palma aside from his New Wave contemporaries like Scorsese, Coppolla, Friedkin and even Altman, is here is a man with absolutely no love nor nostalgia for the Catholic Church. It’s not the last bastion of moral clarity; it’s a breeding ground for lunatics." Wilson adds that "never before or since has De Palma’s virtuosity blended so unobtrusively with his subject matter," and uses the split screen sequence as an example:

Take the infamous split screen finale. What has to be the best use of split screen in De Palma’s career (and thus by extrapolation, maybe the best use of the split screen ever). Here he turns it into a kind of cinematic meat grinder. A meat grinder that runs on for a subjective eternity before it finally ends. Perhaps the finest thing I can say about it, is that I always forget that it is inter cut with non split screen shots until I actually watch it.

Daniel Montgomery, apparently viewing the film for the first time, states, "At the outset I expected a revenge fantasy, but the film surprises by how sad it is. There is no vicarious thrill in watching Carrie take her revenge after being humiliated at the prom, because wee see that not all of her victims are guilty. Some were trying to help her. Two classmates seem to have been involved in the plot all along but are revealed to have been sincere, which compounds the tragedy. Their act of kindness was one act too late."

THE LOVED ONES DIRECTOR DIRECTLY INFLUENCED BY CARRIE
Clint Morris at Australia's What's Playing interviewed Sean Byrne, the writer/director of The Loved Ones, who says he was inspired by De Palma's film, among others (including Tobe Hooper's Texas Chainsaw Massacre). "The horror films from the 70’s and 80’s are just balls to the wall fun," Byrne told Morris, "and I just wanted to recreate that experience. I was especially inspired by Sam Raimi’s The Evil Dead and Brian De Palma’s Carrie, as well as Misery and Tarantino and Lynch." Discussing the Australian humor of his new horror film, Byrne told Morris, "I think it’s got its own distinctly wild Australian sense of humour," but then added that "its roots definitely lay with the classic American Cabin in the Woods and Prom movies."


Posted by Geoff at 3:58 PM CDT
Updated: Thursday, October 28, 2010 5:20 PM CDT
Post Comment | Permalink | Share This Post
4TH M:I TO BE TITLED GHOST PROTOCOL
CRUISE ANNOUNCES NEW TITLE IN DUBAI PRIOR TO SHOOT
According to Gulf News, Tom Cruise held a press conference in Dubai today, where he was getting ready to begin shooting scenes for the fourth Mission: Impossible film with director Brad Bird. Cruise announced that the title of the new film will be Mission: Impossible - Ghost Protocol. "One of the things I always wanted for the franchise was for it not to have a number afterwards," Cruise said, according to Gulf News. "I’ve never done sequels to films and I never thought of these films as sequels. Paramount has done a great job in coming up with a title, so it’s not going to be MI2, 3, 4: it’s going to be Mission: Impossible - Ghost Protocol. I always felt it should have a title."

Posted by Geoff at 2:50 PM CDT
Post Comment | Permalink | Share This Post
CITIZEN MIDNIGHT SINGS "PHANTOM OF THE PARADISE"
VIDEO FROM JULY SHOWS SAN FRANCISCO ROCKSPLOITATION BAND
Rocksploitation w/Citizen Midnight- | Movies & TV | SPIKE.com

Last July, we posted about the Rocksploitation midnight movie series at San Francisco's Bridge Theatre, where the band Citizen Midnight played songs before a screening of Brian De Palma's Phantom Of The Paradise. In the video above, you can hear the band performing an original song they wrote about the film (called Phantom Of The Paradise). In the video, Citizen Midnight's Rob Goblin explains that they took the main riff from Andrew Lloyd Webber's Phantom Of The Opera and turned it into a story about the De Palma film. In the video, you can also see the band perform Somebody Super Like You from Phantom Of The Paradise.

Posted by Geoff at 2:13 AM CDT
Post Comment | Permalink | Share This Post
Monday, October 25, 2010
CRITIC ON PARANORMAL ACTIVITY 2
SAYS DE PALMA AS DIRECTOR MAKES SENSE NOW THAT HE'S SEEN THE MOVIE
Slant critic Simon Abrams on Paranormal Activity 2, which was directed by Tod Williams:

As ridiculous as the rumor may have seemed at the time, all the talk about how Brian De Palma was being sought out to direct Paranormal Activity 2 makes sense now. It is, after all, an overtly meta-textual narrative about the representation of violence on film. If nothing else, Paranormal Activity 2 directly grapples with the potential conceptual uses for the franchise's defining narrative strategy of combining security camera footage and video shot on handheld digital cameras by the film's protagonists in ways that Paranormal Activity didn't even attempt. We're frequently reminded that we're watching edited footage (i.e. a narrative that only looks like raw documentary footage), as with the massive Kubrickian intertitles that tell us the date at the start of every night of recorded footage.

Anyone watching Paranormal Activity 2 closely enough will see that the transitions between different cameras in the film isn't motivated by any internal logic but rather a narrative one. For instance, loud late night banging coming from outside a front door isn't explicitly shown, though there's a security camera present to document the event. That scene is cut in such a way that we can only see through that camera after the fact, confirming that we only get to see what the implied documentary filmmakers, as omniscient storytellers, want us to see in order to make their narrative spookier. In that sense, unlike its predecessor, Paranormal Activity 2 doesn't even look like a video report on unexplained events anymore: It's footage of a fake haunting transformed into a film-within-a-film.


Posted by Geoff at 8:15 PM CDT
Updated: Monday, October 25, 2010 10:52 PM CDT
Post Comment | Permalink | Share This Post
Monday, October 18, 2010
CAIN & DICKINSON ON DRESSED TO KILL
AS SAN FRAN'S CASTRO CELEBRATES THE FILM'S 30TH ANNIVERSARY
[The reimagined poster for Dressed To Kill pictured here was created by Mikael Kangas. More of his illustrations can be seen at Anna Goodson Management.]

Michael Cain's latest autobiography, The Elephant To Hollywood, was published earlier this month. In the book's photo section, a caption next to an image of Bobbi in a blonde wig from Dressed To Kill has Cain wondering, "Is this me or my body double?" Cain devotes about three and a half paragraphs to Brian De Palma's film, writing, "Who would have thought that the role that would rescue my career at that point would be that of a transvestite psychiatrist turned murderer? You couldn't make it up... but Dressed To Kill became a huge box-office success. It was an opportunity for me, too, to show the versatility of my acting skills, not to mention a first outing for me in women's clothing. It had to be the most uncomfortable costume I ever wore. I hated the tights, couldn't walk in the high heels, found that the lipstick got all over my cigars and stubbornly insisted on wearing my own underpants." Despite all of that, Cain writes, "In the end, many of the long shots in the film were actually played by a double-- a real woman-- who was as tall as me, but needed a bit of padding out. It was she who played the most notorious scene in the film when my character slashes Angie Dickinson's character to death with a razor. It is a horrifying scene-- one that I only saw later on-- and it caused a lot of trouble at the time. Brian De Palma-- who is one of the most technically proficient directors I've ever worked with-- was insistent that it was the right thing to do. It was the only death in the entire movie and he wanted maximum impact: he got it, all right."

DICKINSON ON '70s NUDITY: "THIS IS HOW WE'RE DOING IT NOW"
Meanwhile, Todd Gilchrist interviewed Angie Dickinson last week for the Wall Street Journal, on the eve of the Warner Archive on-demand DVD release of Roger Vadim's Pretty Maids All In A Row (the first batch of orders received copies autographed by Dickinson herself, and sold out quickly). Gilchrist asked Dickinson whether nudity was "a necessity for continuing to work" on films in the 1970s. Dickinson replied:

If I’d had a choice, I would have said, oh no, let’s do it under the covers and stay covered up. That would be my favorite way to do it. But I also was grown up enough to know, “this is how we’re doing it now.” On “Big Bad Mama,” I said, “do we have to have so much nudity?” and the director said yeah (laughs). So it’s hardly my favorite position, but I was an actor, and this is what movies were doing [then], so I did it.

The conversation turned to Dressed To Kill when Gilchrist asked Dickinson if she sees "a difference in the filmmakers who were working then and who are working now":

I haven’t worked on any of those big movies where they make you do the blue screen and all of that, so I don’t really know. The ones that I’ve done have still been the kind where once you’re on a set, you’re on a set; I can’t speak to the ones that have all of the blue screen, where you’re not really in Egypt, you’re in Burbank. The last big picture I made was “Dressed to Kill,” and it was a big budget made by a director who has great attention to detail –- Brian De Palma -– and that was very hard. Because he wanted everything exactly the way he wanted it, and rightly so -– which is hard to do sometimes. But in that, and of course that was 1980, he had to have, again, the nudity. That was just a given.

Gilchrist then asked Dickinson, "Are there any other films you made during your career that you feel like are unappreciated or deserve to be rediscovered by audiences today?"

You know, “Dressed to Kill” might be one, come to think of it. Because by those who have seen it, it’s quite admired, because it is scary as hell — but I don’t think it was actually the hit that it would be today. But that comes to mind, and I did a television series called “Pearl,” and that was a great series about Pearl Harbor on the outbreak of WWII with Robert Wagner, Dennis Weaver, Leslie Ann Warren and myself. I always loved myself in that, and that’s always been, let’s say, shoved under the rug. But “Point Blank” is already in DVD, and that one is my favorite.

THE CASTRO REDISCOVERS PSYCHO & DRESSED TO KILL TOGETHER ON THE BIG SCREEN
Earlier this month, San Francisco's Castro Theatre featured a double bill of Alfred Hitchcock's Psycho and De Palma's Dressed To Kill, the former having been released 50 years ago, and the latter having been released 30 years ago. Kelly M. Hudson attended, and wrote on his blog that "there were a couple of sequences that made the audience I was watching it with erupt into enthusiastic applause and those were the attack in the subway and the finale in the doctor's office and the final dream sequence. And those people were right: they were brilliant." Dan at Dan's Movie Blog was also at the screening, and similarly stated, "I will say that a few scenes where Blake is menaced by the woman ratchets up the suspense to unusually tense levels. I'm specifically thinking about the scene in Michael Caine's office and in the bathroom at the end." Dan also recalls the "teenage boys in his clique" in the early 1980s talking "about the infamous opening scene featuring Angie Dickinson taking a shower." Dan notes that Dickinson's body double in the opening shower scene was Victoria Lynn Johnson "(August 1976 Penthouse Pet of the Month)."


Posted by Geoff at 5:14 PM CDT
Updated: Monday, October 18, 2010 5:14 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Tuesday, October 12, 2010
DE PALMA ON MUSICALS
AS QUOTED BY DAVE MARSH
Rock music critic Dave Marsh reviewed the stage version of American Idiot on his blog last week, and recalled a quote from Brian De Palma from some years ago regarding musicals:

Walking out of Sweeney Todd years ago, I asked Brian De Palma why I hated such shows. He said, “Well, you love stories and you love music. In musicals, story is compromised by having to stop for the songs, and the music is compromised because it has to tell the story.”

Marsh used the quote to help illustrate his point about how the Green Day musical "trusts the music"-- meaning that the original Green Day album told the story just fine on its own, and the new show keeps the volume loud and trusts the music's rock roots by slurring the lyrics like a rock'n'roll show should (according to Marsh).


Posted by Geoff at 12:09 AM CDT
Post Comment | Permalink | Share This Post
Thursday, October 7, 2010
OFF BROADWAY CARRIE ANNOUNCED FOR 2011-2012
ABOUT HALF THE SONGS HAVE CHANGED, SAYS NEW DIRECTOR
The other day, the New York Times' Patrick Healy posted an article that served to officially announce that the revamped stage version of Carrie has been acquired by the MCC Theater, which plans to open the show Off Broadway as "a major production at the Lucille Lortel Theater during the 2011-12 season." Healy interviewed the show's director, Stafford Arima, who said he was actually in attendance for the orginal preview of Carrie on Broadway on April 30, 1988. "I had never seen a crowd go wild like the ‘Carrie’ crowd did, the infectious and almost hypnotic quality to some of the songs, the absolute roar from the audience at the end as Carrie dies,” Arima told Healy. “Personally, too, as a theater geek who had been bad at gym, I related very much to the archetype of the misfit. How many of us can remember being made fun of in high school because we were too smart, too shy, too awkward?” Arima told Healy that about half of the songs in the new show will be different than the original show, which was a notorious flop. "Among the songs already jettisoned," states Healy, "is the notorious Act II opener, 'Out for Blood,' in which high school mean girls and boys work themselves into a state of murderous rapture as they seek pigs’ blood for a cruel prom-night prank against Carrie, a character best known from Sissy Spacek’s portrayal in the 1976 film adaptation."

Lawrence D. Cohen, who adapted Stephen King's novel for both the film and stage versions of Carrie, was quoted in an official MCC announcement yesterday. "From our perspective," explained Cohen, "we had no interest in seeing a new production of the exact same show that closed on Broadway." Composer Michael Gore added, "We've revisited the material extensively and embarked on what we're terming a ‘re-imagining' of the musical." The announcement also quotes Arima regarding how the story takes on increased resonance today. "As our society finally begins to take a serious look at the intense stressors placed upon teenagers and the often tragic consequences of bullying and social ostracism within our schools," stated Arima, "the message of Carrie has only become more timely and resonant."

Posted by Geoff at 7:42 PM CDT
Updated: Thursday, October 7, 2010 7:48 PM CDT
Post Comment | Permalink | Share This Post
Friday, October 1, 2010
ARMOND WHITE ON LET ME IN
LEADS TO JESSE TUCKER ON CARRIE
Armond White is not impressed with Matt Reeves' Let Me In, which opened this weekend at U.S. theaters. "This perverted fairy tale about Owen’s guardian vampire degrades the vampire genre simply to exploit adolescent sappiness," White states in his review at the New York Press. White goes on to contrast Reeves' film with "the all-time great adolescent horror movie," Brian De Palma's Carrie. Here are the two concluding paragraphs of White's review:

The 2009 Swedish film Let the Right One In originated this confusion. Its title—borrowed from a 1993 Morrissey song that expressed adolescent longing— sentimentalized moral ambiguity. Abby cannot enter her friend’s home without being invited, requiring his acceptance of evil. Bringing teen anguish to vampire lore (M. Night Shyamalan-style rather than Buffy-style) was lamely nihilistic—and inferior to the vampire romance Twilight that opened the same season. But critics preferred Let the Right One In for its selfpitying view of adolescence. That’s also the sell point of this American remake—add on trite political commentary by setting the story in the nuclear test site Los Alamos, N.M., during the 1980s and frequently cutting to TV broadcasts of President Reagan as a right-wing ghoul warning: “America is good, and if America ever ceases to be good…” So teen anguish gets smashed-up with facile politics, America-hatred and routine Christianity bashing. (Owen’s mother is a grace-saying, Bible-reading drunk whose estranged husband complains about “more of your mother’s religious crap.”) Meanwhile, vampirism—though freaky— gets idealized. But when Abby’s father (Richard Jenkins) mutilates himself after fouling-up a blood-raid/murder-spree and she goes on her own feeding frenzies— including neighborhood lovers and the only cop in town—the gruesome bloodletting lacks the beautiful moral symmetry of the all-time great adolescent horror movie, Brian De Palma’s 1976 teen classic Carrie. Apparently, neither Reeves nor critics remember De Palma’s part-satiric, part-melodramatic demarcation between Carrie’s pathetic need to belong and her tragic acts of revenge.

True to millennial faithlessness, Let Me In rejects Carrie’s complexity, emphasizing both Abby and Owen’s misery. Young scholar Jesse Tucker wrote a brilliant essay describing De Palma’s final twist (where Carrie’s hand grasps her schoolmate’s) as a forgiving gesture toward commiseration. Reeves flips that beautiful motivation in the scene where Owen ignores a reach for help from one of Abby’s victims. It’s an obscene devolution of the genre. Children should not be exposed to this lurid display of helplessness and pessimism—and adult viewers should be wary of the nihilistic indulgence.

JESSE TUCKER ON CARRIE
In November of 2007, Jesse Tucker wrote a review of Carrie in which he presented the intriguing metaphysical interpretation (mentioned by White above) of the final scene in De Palma's film:

A dreamlike sheen hangs over the ending. Sue, the only survivor, sleeps, while in her subconscious she lays flowers on the charcoal pit where Carrie's house used to be. Everyone knows the ending, with Carrie's hand reaching to grab Sue's from another world. It's a shock many people experience come October. But De Palma doesn't use it merely to send us away from the film with a jolt. The gesture is a final, failed attempt to connect. Throughout the film we see the secret pain of abuse, the shock in Chris' face when her boyfriend slaps her, Carrie flinging her advancing mother across the room. Briefly, we see the happy domesticity of Sue's home life. Carrie, beyond the grave, is trying to forge a bond between these girls who exists on the opposite spectrum of life. It fails as Sue wakes up screaming. The other girl is regulated back into the darkness.

(Thanks to John!)


Posted by Geoff at 9:25 PM CDT
Updated: Friday, October 1, 2010 9:28 PM CDT
Post Comment | Permalink | Share This Post

Newer|Latest|Older