Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
a la Mod:
For this very special release, we are pleased to say that our detective work paid off in spades – we found 13 reels of the original session masters and they included the entire score, about twenty-five minutes of never-before-released score cues. Since both film and score are iconic, it was the greatest kind of discovery we could have made.
So, it is with great pleasure that we offer for the first time the complete score to Carrie in film order. We also found two instrumentals of the songs, which we’ve included as bonus tracks. Additionally, on CD 2 we offer the original album, newly remastered for this release.
This release is limited to 1200 copies only. The price of this special 2 CD set is our usual one CD price – $19.98, plus shipping. Additionally, we are offering a special deal with the purchase of this release. Go to the item page and click on the link to find out about it.
CD will ship the third week of December – however, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early).
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.
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."
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.