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

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

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

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

Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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

AV Club Review
of Dumas book

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

« September 2020 »
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...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

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

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
Are Snakes Necessary?
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
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
Catch And Kill
Cinema Studies
Columbia University
Columbo - Shooting Script
Cop-Out
Cruising
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
Domino
Dressed To Kill
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
George Litto
Get To Know Your Rabbit
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Mod
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
NYFF
Obsession
Oliver Stone
Palmetto
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pimento
Pino Donaggio
Predator
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sakamoto
Scarface
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Spielberg
Star Wars
Stepford Wives
Sweet Vengeance
Tabloid
Tarantino
Taxi Driver
Terry
The Tale
To Bridge This Gap
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Untouchables
Venice Beach
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
Thursday, September 24, 2020
'BLOW OUT' & 'CARLITO'S WAY' ARE GATEWAY MOVIES
FOR NY TIMES COLUMNIST, BOTH FILMS DISPLAY THE FINER POINTS OF DE PALMA AS AUTEUR
http://www.angelfire.com/de/palma/nytimesdepalmaauteur.jpg

"One of the most enduring questions among cinephiles has been what exactly to do about Brian De Palma," Ben Kenigsberg states at the start of his "Gateway Movies" column today at The New York Times. "Detractors used to dismiss him as a talented recycler who riffed on the movies of great auteurs (Alfred Hitchcock most obviously and consistently) without achieving those auteurs’ nuance or depth. Admirers cast him as one of the most gifted stylists of his generation — every bit the peer of Martin Scorsese and Steven Spielberg, who came up in the film industry at the same time. In this view, he’s also a serious artist who has preserved classic Hollywood traditions even as he has slyly toyed with them.

"The 2016 documentary De Palma, now streaming on Netflix, gave the feeling of resolving the matter. The director sat down with fellow filmmakers Noah Baumbach and Jake Paltrow, much as Hitchcock had with François Truffaut, and went film by film through his career. No one who saw the documentary could doubt De Palma’s sincerity, the range of his work or, particularly, his command of film language. De Palma turned 80 this month, and at this point it seems uncontroversial to rank him among the living masters of the cinematic form.

"What recent appraisals haven’t settled, though, is a pettier tiff among De Palma’s fans, about the 'right' way to appreciate De Palma. You liked The Untouchables (1987) and think it’s one of his best? Too bad. If you’re talking to a De Palma fanatic, The Untouchables was a commercial effort, written by David Mamet, and to see it as superior to a De Palma-penned Psycho pastiche like Dressed to Kill (1980) is to miss his originality.

"My own enthusiasms, as Robert De Niro’s Al Capone might call them, have varied wildly over time, from skepticism to appreciation and back. But if even inveterate De Palma watchers sometimes get tsk-tsked for their taste, where does that leave newcomers? I propose that a good middle ground is to start with a De Palma classic from his freewheeling 1970s-’80s period, Blow Out, and to continue with one of his finest studio efforts, Carlito’s Way. Aficionados may howl at that one as insufficiently pure-grade. (David Koepp, not De Palma, wrote the script, which mostly plays it straight.) But in De Palma, the director himself remembers watching Carlito’s Way and thinking, 'I can’t make a better picture than this.'"

In fact, back in 2002, De Palma had chosen these very same two pictures to bookend a career retrospective at the Pompidou in Paris. Two sides of the same personal coin, the two films share a similar sense of tragedy, irony, and fate.

Earlier this month, the blogger at You Remind Me Of The Frame discussed De Palma's Phantom Of The Paradise as "a complex and intertextual satire" that nevertheless "operates independently" of its references. Kenigsberg echoes that viewpoint in his discussion of Blow Out:

Part of what makes “Blow Out” quintessential De Palma is that it wears its influences proudly — but also recombines them to make them fully the director’s own. The basic premise is consciously indebted to Michelangelo Antonioni’s “Blow-Up” (1966), which concerns a photographer who accidentally captures evidence of a murder. But De Palma’s film uses the setup to create a thriller, something that Antonioni’s study of disaffection in swinging London steadfastly refused to be.

Blow Out” centers on a movie sound man, Jack (John Travolta), who unwittingly records audio that could prove a fatal car accident was a political assassination. Antonioni is only the most superficial influence. De Palma borrowed the car accident off the bridge from the Chappaquiddick scandal involving Ted Kennedy. Jack pores over individual frames of the murder scene as if parsing the Zapruder footage, which gets a shout-out. De Palma has cited the Watergate operative G. Gordon Liddy as his inspiration for the villain (John Lithgow), who has vastly exceeded his mandate by killing and goes to extreme lengths to cover his tracks.

Although the film has something to say about what was at the time recent American history and the public’s capacity to turn a blind eye to corruption, on several levels “Blow Out” is a movie about movies and the apparent contradiction they contain.

On one hand, movies offer the promise of capturing the truth. Jack, who recorded the accident while making audio of whooshing wind for a horror movie, turns increasingly to film to prove his case. He cuts still photos of the accident from a magazine and animates them, synchronizing them to the audio he’s recorded to create a mini-documentary of the crime scene.

On the other hand, movies are inherently constructions, with the capacity to fabricate. “Blow Out” has already lied to us by opening with an elaborate fake-out: a sequence from the point of view of a slasher stalking coeds that turns out to be a film within the film. (This sequence represented De Palma’s first use of the Steadicam, which was then a novel device, and a tool he has used to extraordinary effect ever since.) The sequence ends with the stalker about to murder a showering woman, and she lets out a pitiful scream; cut to the screening room, where we learn that Jack hasn’t bothered to dub the actress. The search for a believable fake scream frames the movie. In the final irony, he will hear that perfect scream in real life.


Kenigsberg goes on to discuss the various vantage points De Palma provides the viewer in Blow Out's key repeated sequence, before transitioning toward Carlito's Way. "Few filmmakers are as adept at leading viewers through the geography of a sequence," he states. "My favorite example is in the final 20 minutes of Carlito’s Way, which is simply one of the most thrilling chases ever filmed." Read the rest at The New York Times.


Posted by Geoff at 8:56 PM CDT
Updated: Thursday, September 24, 2020 9:02 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Wednesday, September 23, 2020
THE EYES OF LAURE ASH
A MOMENT OF ROTATING FATE & CHANCE IN 'FEMME FATALE'
http://www.angelfire.com/de/palma/ffeyesrotation1.jpg


Posted by Geoff at 12:01 AM CDT
Updated: Thursday, September 24, 2020 12:14 AM CDT
Post Comment | View Comments (3) | Permalink | Share This Post
Tuesday, September 22, 2020
NASHAWATY ON THE COENS' 'MILLER'S CROSSING' AT 30
'DANNY BOY' SEQUENCE IS "SINGLE GREATEST BRIAN DE PALMA WIND-UP THAT DE PALMA NEVER DIRECTED"
http://www.angelfire.com/de/palma/dannyboy2.jpg

Today at Esquire, Chris Nashawaty's essay celebrates his favorite Coen Brothers movie, Miller's Crossing. "Released on this day in 1990," Nashawaty writes, "Miller’s Crossing is probably the Coens’ least celebrated masterpiece. The only movie in their top tier that doesn’t get enough love. I’m not sure that I know why that is, but if I had to venture a guess, I’d say that it’s probably because its plot is too dense and Byzantine, its tough-guy and double-dealing dame patter is too rat-a-tat fast to stick, and the performances are too layered and subtle to fully register until you’ve watched it three or four times. Actually, I can’t think of another film from a major Hollywood studio over the past 30 years that asks more from its audience—yet rewards them with so much for their efforts."

Deeper into the essay, Nashawaty digs into a couple of the film's key moments:

The opening scene of the film is so directly borrowed from Francis Coppola’s The Godfather that it goes beyond homage into outright theft. An immigrant visits a mob boss, hat in hand, asking for a favor. But before you can press charges, the Coens deliver the film’s now-iconic image as the opening credits appear—that black hat blowing in the wind like an ominous reverie that eludes the dreamer’s grasp. Carter Burwell’s score turns the image into pure undiluted poetry. There’s a reason why the very same theme was repurposed to sell the trailer for The Shawshank Redemption a four years later.

But what, you may ask, makes Miller’s Crossing better than Fargo or The Big Lebowski or No Country For Old Men or Inside Llewyn Davis? Of course, these things are all subjective. But I can’t think of another Coen brothers film with as much sheer ambition. It dares to turn a pair of traditionally streamlined genres (film noir, gangster pictures) into something so convoluted it borders on the Baroque. This isn’t a movie where characters double-cross one another, they triple- and quadruple-cross one another until your head starts to hurt. Tamping down the visual pyrotechnics of Raising Arizona, Sonnenfeld gives the film an almost-stately sepia period palette. His technique in the film’s greatest sequence, where Finney’s Leo unleashes tommy-gun justice on a pair of assassins sent to kill him while he’s at home lying in bed in his silk bathrobe listening to “Danny Boy” on the phonograph, is the single greatest Brian De Palma wind-up that De Palma never directed. Almost every actor in the film gives the best performance of their career in Miller’s Crossing, especially Turturro, Polito, and Harden, whose incestuous, “sick twist” Verna bristles with the sort of ferocious, tough-talking fatalism that would have put Gloria Grahame, Barbara Stanwyck, and Lauren Bacall out of work had the film been made in the ‘40s.


Posted by Geoff at 11:07 PM CDT
Post Comment | Permalink | Share This Post
Monday, September 21, 2020
CINEMA SNOB REVIEWS 'PHANTOM OF THE PARADISE'
SAYS HE'S HAD THIS FILM REQUESTED MORE OFTEN THAN ANY OTHER FOR ANNUAL MUSICAL MONTH IN SEPTEMBER

Posted by Geoff at 10:15 PM CDT
Post Comment | Permalink | Share This Post
Sunday, September 20, 2020
FRANCESCO FRANCAVILLA PAYS TRIBUTE TO 'PHANTOM'
PAUL WILLIAMS' 80TH BIRTHDAY YESTERDAY, WILLIAM FINLEY BORN 80 YEARS AGO TODAY
http://www.angelfire.com/de/palma/francescofrancavillaphantom2.jpg

Posted by Geoff at 12:01 AM CDT
Updated: Monday, September 21, 2020 1:09 AM CDT
Post Comment | Permalink | Share This Post
Saturday, September 19, 2020
DE PALMA'S WISE GUYS - HITCHCOCK'S THE MANXMAN
FACES IN THE WINDOWS, FROM 1986 AND 1929
http://www.angelfire.com/de/palma/windowwatchers55.jpg


Posted by Geoff at 12:01 AM CDT
Post Comment | Permalink | Share This Post
Friday, September 18, 2020
RYAN MURPHY'S 'RATCHED' AMPS UP HITCH & DE PALMA
EXEC PRODUCER JENNIFER SALT CO-WROTE 2 EPISODES, HERRMANN-ESQUE MUSIC PERVADES
http://www.angelfire.com/de/palma/ratched.jpg

I've watched the first two episodes of Ratched (new on Netflix). Both are directed by Ryan Murphy with compelling, colorful visual style and panache. Bernard Herrmann-esque music pervades. Jennifer Salt co-wrote two of the episodes, and is an executive producer on the 8-episode series, which was created by Evan Romansky and Murphy, based on Ken Kesey's One Flew Over the Cuckoo's Nest. Several reviews mention Alfred Hitchcock and/or Brian De Palma. Here are a couple of samples:

Alci Rengifo, Entertainment Voice

When Netflix granted maverick producer Ryan Murphy carte blanche to make original content, they essentially unleashed his obsession with aesthetic. When approaching his latest Netflix offering, “Ratched,” understanding the Murphy look and feel is key. Officially this is some kind of prequel about Nurse Ratched, the domineering, dark authoritarian in “One Flew Over the Cuckoo’s Nest,” made iconic by Louise Fletcher. But dismiss the 1975 movie, or even the original 1962 Ken Kesey novel. It doesn’t matter if you’ve never seen the movie or read the book. This series has no connection to them aside from the character’s last name. The rest is pure, demented reinvention, sometimes bordering on goofy, but never boring to look at.

In the Murphy universe it all begins with murder. It’s the early ‘50s and a young man named Edmund Tolleson (Finn Wittrock) flips out and kills several priests, apparently convinced one was his father. Edmund will surely face execution and is sent to the Lucia State Hospital, located in a picturesque spot in California. It is here where Nurse Mildred Ratched (Sarah Paulson) arrives looking for work. Stern and focused, Ratchd nearly intimidates the hospital’s chief doctor, Dr. Richard Hanover (Jon Jon Briones). Hanover is desperate for funding, practically begging the state governor, George Wilburn (Vincent D’Onofrio). Ratched doesn’t mind the lack of positions, she finds a way to push one nurse out and get her spot. It’s soon evident her real reason for being at the hospital is to get close to Edmund. The killer will soon become the poster child for the hospital’s rehabilitation efforts, which verge from misguided to horrific. Ratched will become a player in it all, even connecting romantically with another character in ways she would have never dreamed.

Ratched” is not necessarily a creation of Murphy. Some attention has been given to how it began as a spec script by Loyola Marymount University film student Evan Romansky four years ago. Along with Murphy, Michael Douglas, who produced the 1975 movie, is also tapped as a producer here. However there is no denying the real force behind the show. Murphy’s stamp is on every episode. It’s a better entertainment than his “Hollywood” series from earlier this year, a revisionist history of the Hollywood Golden Age. But like that series, “Ratched” works best as a visual experiment than as a story. While it’s a timeless classic, “One Flew Over the Cuckoo’s Nest” is not “Star Wars,” so it’s not as if audiences have been dying for a prequel. So Murphey lets loose, making every chapter a mad melodrama with heightened colors, camera angles that are obvious homages to Alfred Hitchcock and Brian De Palma, and a music score taken straight out of “Cape Fear” or “Psycho.” Many sequences find Ratched walking down a hall as the lighting turns to a hypnotic green or red. The décor, even of the Lucia State Hospital, is lush and seductive to the eye. Never has a mental institution looked this alluring anywhere else. It could be a spa from hell. There are individual moments that can be enjoyed just for Murphy’s fixation on details, like a seaside meal between Ratched and Gwendolyn Briggs (Cynthia Nixon), who works for the governor and gets very close to the nurse. Ratched tastes oysters for the first time, and the scene is done in a way where we can almost taste them ourselves.


Andrew Crump, The Playlist
Typical accoutrements for eating raw oysters include cocktail sauce and mignonette, plus or minus a curious spirit for the uninitiated. The key accompaniment is subtlety. But subtlety is served rarely in the Ryan Murphy extended universe, so when Mildred Ratched (Sarah Paulson) and Gwendolyn Briggs (Cynthia Nixon) take a seat at an oceanside restaurant and order an oyster plate, the sexual undertones don’t go “under” at all. They’re as low-key as a jackhammer. But that’s okay. The eroticism and flirtation rest on the surface like vinegar in the shell. Gwendolyn is giving her Mildred her first taste of oysters while handholding her through a metaphor for oral pleasure.

This scene is set about halfway through “Ice Pick,” the second episode in the origin story series “Ratched” on Netflix. Like many productions Murphy puts his name on, he serves as an executive producer and developer; the creator is Evan Romansky, taking pages from Ken Kesey’s novel “One Flew Over the Cuckoo’s Nest” as well as Miloš Forman’s 1975 adaptation, which is arguably more widely embraced by pop culture than its source material. Regardless, Romansky’s series functions as a “What if?” taking viewers back nearly 20 years to Nurse Ratched’s arrival at Salem State Hospital, back when she was driven by morals and ideals and didn’t approach every patient like a nail. She’s still cunning and ruthless, of course, conniving her way into employment at a mental hospital in Northern California, but she’s also appalled by certain practices seen as state-of-the-art for the times, like hydrotherapy.

“True monsters are made, not born,” reads Netflix’s logline for the show. If that thesis held up as one episode fades into the next, “Ratched” might have better cogency, though even if the writing betrays the basic conceit, the narrative still hums along nicely. What actually hobbles “Ratched” is the Russian nesting doll effect of structuring a prequel around the chief antagonist in a movie based on a book. Characters like Nurse Ratched don’t require explanation. In fact, they can’t be explained at all. They exist solely to provide a wall for protagonists to collide with. Sometimes inhumanity’s roots demand excavation. Most times they’re best left rooted in the dirt.

What’s especially frustrating about Romansky’s enterprise is that “Nurse Ratched” could have done just fine on its own merit divorced from pre-existing intellectual property; as a kinky thriller about a haunted and unstable medical professional who sabotages her peers, bumps off the occasional patient, and disposes of the bodies, all while struggling with her late-stage sexual awakening and a dose of wartime trauma, the show works and handily outclasses Murphy’s other 2020 projects, “Hollywood” and “The Politician.” Think of “Nurse Ratched” as a confluence where the movies of Brian De Palma and Alfred Hitchcock pool together with genre plots about evil nurses, buttressed by the excess that defines Murphy’s brand. The resultant mixture proves satisfying by the end of the pilot’s opening sequence, where Edmund Tolleson (Finn Wittrock) brutally kills a quartet of clergymen with throat slashes, dozens of stab wounds, and one head smash.

Sounds like the start of a new season of “American Horror Story,” except the scares are replaced by the sense of watching strangers undress through their upstairs window. The naughtiness that partially, but substantially drives “Nurse Ratched”s plot feels like a release, even when Romansky and his writing team—comprising Murphy, naturally, as well as his usual cohort Ian Brennan and Jennifer Salt—pause it for genre-mandated bloodletting and squeamish discomforts, ranging from LSD-fueled delimbings to cranial lobotomies performed at the business end of an ice pick (in case Episode 2’s title doesn’t immediately give away the game.) In “American Horror Story,” images like that would be the showcase. Here, it’s more like a set of bookends to prop up complicated bedroom roleplay, Mildred’s sexual self-denial, and her mission to get herself as close to Tolleson as possible. Turns out they’re related, the “how” being revealed in, again, “Ice Pick,” one of the series’ fundamental chapters.


Posted by Geoff at 11:00 PM CDT
Updated: Saturday, September 19, 2020 7:46 AM CDT
Post Comment | View Comments (4) | Permalink | Share This Post
Wednesday, September 16, 2020
2017 FLASHBACK - HELENA KAITTANI ON SET OF 'DOMINO'
WITH NIKOLAJ COSTER-WALDAU, IN ANTWERP, BELGIUM
http://www.angelfire.com/de/palma/helenakaittaniandnikolaj.jpg

Although her stunning beauty is on full display amidst the light and shadows in her early bedroom scene in Brian De Palma's Domino, it's nice that Helena Kaittani managed to snap a selfie with Nikolaj Coster-Waldau at the Antwerp apartment set of the film back in June of 2017. What a treat to see their faces up close and behind the scenes from that day. The pics above and below were posted earlier today on Nara Talent's Instagram page.


Posted by Geoff at 8:40 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Tuesday, September 15, 2020
1980 FLASHBACK - POLICE WOMAN STIRS A FUROR
WITH HER R-RATED SHOCKER, DRESSED TO KILL
http://www.angelfire.com/de/palma/peoplesept151980.jpg


Posted by Geoff at 12:01 AM CDT
Updated: Wednesday, September 16, 2020 12:13 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Monday, September 14, 2020
'DESERVES MT. RUSHMORE CHICAGO MOVIE STATUS'
THE CHICAGO JOURNAL ON 'THE UNTOUCHABLES'
http://www.angelfire.com/de/palma/thechicagoway.jpg

The Chicago Journal is keeping a running master list of Chicago movies. "What makes a 'Chicago' movie?" the Journal asks in the introduction. "It's a good question that, we admit, in some cases requires a bit of je ne sais quoi. To us, the best 'Chicago' movies are those where the city becomes almost a character in itself. It's a movie that, once seen, you can't picture set anywhere else. A movie that lifelong Chicagoans can see themselves and their friends and family in the characters and a movie that makes us instantly recall long forgotten memories."

Listed alphabetically, The Untouchables entry on the Journal's master list reads:

This David Mamet written and Brian De Palma directed 1987 picture probably also deserves Mt. Rushmore Chicago movie status. There are not many that can check all the boxes it hits.

It was almost entirely filmed here and has pivotal/famous scenes in some of the city's most iconic locations, it was a critical/commercial success, and it piles on the je ne sais quoi of Chicago attitude with the quotes to match.

In fact, The Untouchables gave us maybe the most-used/well-known movie quote in the history of Chicago. When Sean Connery, who won an Oscar for his role, is talking to Kevin Costner playing infamous lawman, Eliot Ness, famously describes increasing violence in order to bring down Al Capone's empire:

"They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That's the Chicago way!"


De Palma's The Fury is also listed, briefly:
Brian De Palma directs this movie about kids with occult powers who go to a special Lincoln Park school and fight a government plot.

Posted by Geoff at 12:01 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Newer|Latest|Older