Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:
to direct remake
says she's the "perfect
choice" to direct
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."
a la Mod:
Meanwhile, in the video above, at a press conference backstage following the ceremony, Williams is asked by a journalist if he ever spoke with Daft Punk about Phantom Of The Paradise. "You know, it’s interesting," Williams replies. "In 1974 I made a movie with Brian De Palma called Phantom Of The Paradise that nobody went to see in this country. [Laughing] I made movies and albums that even my family didn’t go to or buy, you know. But through the years there have been some people that have kind of discovered Phantom Of The Paradise. Two of the collaborations that I’m working on right now are direct results of Phantom Of The Paradise. One is the guys in Daft Punk saw Phantom Of The Paradise twenty times, and they loved the movie. I’m writing a musical based on Pan’s Labyrinth with Guillermo del Toro, and my whole relationship with Guillermo del Toro is based on his love for Phantom Of The Paradise. I’m writing that with Gustavo Santaolalla, who’s a brilliant, brilliant composer from Argentina. Yeah, my life’s pretty good right now, you know? My life’s pretty good right now. Thank you."
As reported earlier this month, Arrow Video's upcoming Blu-ray of Phantom Of The Paradise will include a 72-minute segment in which Guillermo del Toro interviews Paul Williams about the movie.
I saw Jack Ryan: Shadow Recruit yesterday, and liked it quite a bit. Branagh gives a terrifically strong performance as the Russian villain, there are some nicely-shot sequences, and the story is compelling enough, even with a typical time-bomb ending. Aside from the M:I-style con sequence mentioned above, I noticed a bit of dialogue that seems to echo De Palma's Carlito's Way, which was also written by Koepp. In Carlito's Way, after their little "boat ride," Carlito angrilly gives Kleinfeld some advice: "You ain’t a lawyer no more, Dave. You’re a gangster now. You’re on the other side. Whole new ball game. You can’t learn about it at school, and you can’t have a late start."
We posted last week some quotes from Kevin Costner about taking on the "Sean Connery mentor role" in Jack Ryan: Shadow Recruit. In the film, after Jack Ryan has a deadly run-in with a baddie out to kill him, Costner's shadowy CIA agent tells him, "You're not just an analyst anymore. You're operational now." That clip is below:
The Village Voice's Alan Scherstuhl also finds the film's thriller/horror elements disappointing, and criticizes Swanberg's seeming use of nudity for nudity's sake. "Nobody's arguing that nudity precludes the possibility of serious artistic intent," states Scherstuhl, "except maybe those dopes who complain that the flesh bared on Girls doesn't seem to be there to inspire masturbation. 24 Exposures, on the other hand, seems crafted for viewers to watch with their hands in their pants. Yes, as the horny photographer and his girlfriend (Caroline White) hook up with their models, there are clever feints toward parody and criticism of godawful erotic thrillers, but the point of the many nude scenes never feels like anything more than the nudity. Swanberg has made an inspiring career out of rejecting the aesthetic crimes of Hollywood. It's dispiriting, then, that he so doggedly indulges in its tradition of male gazing. This is strict T&A, in a literal sense — just tits and ass, often gamely fondled.
"It's cheerful T&A, at least, and the women are allowed to be chatty, likable people, their characters always eager participants in their fetishization. If there's any artistic breakthrough it's in Swanberg's reclamation of the humanity of softcore, a project he's verged upon before: The women who get naked are the kind these indie filmmakers happen to know and like, a different set than the ones usually hired for movie erotica. Expect bobs, pores, nerves, and an affable freshness, and none of the steely, professional determination of the starlets of the Cinemax circuit. And don't expect to watch these women (all white) suffer acts of violence — there's none of that feeling, familiar from too many horror flicks, that at some level the filmmakers enjoy seeing women suffer.
"Granted, the female cast here all poses for Billy's crime-scene photo shoots, which involve ripped bras and tights, bathtubs of stage blood, and Laura Palmer–style corpse makeup. Since this is also something of a (gentle, self-referential, dissatisfying by design) horror film, those scenes of play-acted murder get juxtaposed against one that's meant to be real in the movie's story. It's a disorienting fakeout, as graceful as De Palma, and perhaps something of a commentary on the aestheticized sexual brutality of CSIs, SVUs, and every Shannon Tweed vehicle, but the deepest the movie digs into it is Billy admitting that he doesn't want to think too hard about what gets him off. (That could be the movie's thesis statement.)"
CraveOnline's Brian Formo adds that "there is a great Brian De Palma film within 24 Exposures. It is also filled with some perfectly framed De Palma moments: peering at women through blinds, sterile unfulfilling design of homes and offices, a third act that reveals that it never knew where to go with the narrative and explains it away in very writer-ly fashion."
However, these aren’t just any women. These are women who have subverted their “organic” female identity to survive and thrive in the man’s world of big business. The movie opens with Christine and Isabelle sharing a drink. When they both choke on what they’re drinking, Christine laughs and says, “It’s organic!” Of course it makes them gag. Both women are synthetic products, and organic is like poison to their plastic souls. This movie is largely about the bastardization of the “organic maternal” within the economic professional sphere, about how women subvert the “maternal feminine” to attain power in the global economy. Of course they’re going to choke when they swallow something organic...
With their clothes, shoes and hyper-performed yet subverted sexuality, these women are like high-end office furniture, lamps or mirrors who reflect the environment they occupy. Their interior selves merge with the exterior of the film – the cars, fancy apartments, slick offices. Their motives are driven by interior desire, yet they are also symptoms of the exterior world. They are mere pieces within their economic environment, yet they are also symptoms of it. Their interior and exterior have become the same thing, a reflection of the economic world, a terribly ugly beautiful surface. Their professional economic environment causes the women to act how they act and molds them into what they become.
Passion is a kind of science fiction of the now narrative, a thriller about the mutation of the female cosmology when it’s placed within the global economic sphere and becomes entwined with the market and the forces of power that drive it. Sure these women are vengeful, calculating and in many ways as synthetic as their environment. They are hyper-female yet coldly economic, but they are also seething with sexuality because in De Palma’s movies (like Scarface) sex and economic power are the same thing. These women use sex to maintain their position of dominance and control. Is it attractive? On the exterior they are sexy as hell, even when they are slashing each other’s throats. On the interior, well, these gals have forfeited their interiors so that question doesn’t really matter.
Do they have choices to not be their jobs? Well, it’s not a choice that De Palma gives us. The women’s actions are motivated by artifice, and they in turn become artificial beings, with their designer clothes, executive offices, and marketing campaigns. They are like Stepford women who have graduated from the kitchen and moved into the high rise office building...
We may not be sure who is out to get who, but one thing is for sure – all these women are out to get each other one way or another as they angle for power and position. I refer to this movie as post-feminist cinema because certainly this is not an image of women that feminists would feel comfortable with, but it’s also a more accurate portrait of women in the new economy than most filmmakers would dare to create. There are multiple references to Medusa within the film – the mythic female who turns men to stone when they look at her –, but these women are already stone. It’s like a reverse parable – they have been turned to stone by gazing into and occupying the male world.
Don’t get me wrong. These women may occupy and vie for power within the male marketplace, but they do not act like men. They act like women. They look like women. But they are women from whom the maternal has been excised by economic forces. In one scene, Christine learns that one of her lovers has a daughter, and she is appalled, horrified, and disgusted . . . almost as if she’s choking on an organic drink. She just wants to get fucked. She doesn’t want to breed. The mere idea of the maternal feels like swallowing poison to her.
D'Arcy describes the way the film captures events as they unfold at Penn State:
"Bar-Lev watches the university community witness news of Sandusky’s 2012 conviction on multiple counts of sexual abuse. Soon head football coach [Joe] Paterno (Sandusky’s boss), is sacked, along with the university president and other officials. The youth response on campus is a riot in which news trucks are overturned and property is destroyed.
"The mob reaction to disturbing news is at the core of Bar-Lev’s film, in which football fever fuels group fenzy in Happy Valley. Critics of Joe Paterno (nicknamed ‘JoePa’) are insulted and threatened when they express concerns publicly, as police stand by. This is extreme football fervor. It would be hard to find a Catholic congregation in the US that rallied behind a bishop who turned the other way after seeing evidence of sexual abuse. Football, as we see, is another story.
"Football as religion is a truism in the US. In Bar-Lev’s film, football as identity and profit takes over. The university searches for life beyond the revered Paterno, who dies in 2012 of a cancer that’s diagnosed the day after his firing. A popular statue of Paterno – a bronze figure of sports kitsch that was a tourist destination – is destroyed by the university, which also expunges the former coach’s name from the university’s history, like that of a purged Soviet official under Stalin. As the crowds pour back into the football stadium, Penn State is busy marketing a cult of personality for its new coach.
"Bar Lev’s scenes of crowd melees are frightening, but his film contains intimate poignant testimony that is equally troubling. Jerry Sandusky’s stoic adopted son, Matt, tells a sad story of growing up in the squalid digs of a desperately poor family and gravitating toward a program for poor boys headed by the coach, who gave the children food, gifts, and mandated sex."
And while Winthrow is disappointed by Mission To Mars, Pountain, ranking the film at number nine, feels that it is "in serious need of reappraisal." Pountain writes, "A film giddy off the wonders of life, Mission To Mars is an absorbing tribute to man’s potential for self-discovery through outward exploration. It’s also a testament to one man’s ability to take a Hollywood hack job with a corny script and turn it into a personal project with truly kick-ass results."
Another film they disagree on is The Black Dahlia. Winthrow calls it "one of the worst films everyone involved has been a part of. The plot is needlessly complicated, the execution of the story is puzzlingly clunky, and the acting is universally stiff." Meanwhile, Pountain, who generally seems more in tune with and more enthusuastic about De Palma's cinema, mentions The Black Dahlia as a "pretty great noir fever dream."
Pountain is also passionate about De Palma's latest, Passion, a film Winthrow feels is "too frenzied for its own good." As a remake of Love Crime, Pountain contrasts it with Kimberly Peirce's Carrie remake. "It isn’t just a film directed by Brian De Palma," writes Pountain. "It’s A Brian De Palma Film. This is evident in its formal detachment, its intense Pino Donaggio score, its indulgence in his pet themes such as voyeurism and sexual obsession, its inspired use of split screen, its playful references, its lack of true closure, its disorienting use of dreams and also, unfortunately, in its financial failure."