"Passion, by Brian De Palma:
Hitchkock with a pinch of Almodovar.
Captivating thriller, obsessive, vertiginous, dreamlike, beautiful."
"I loved the new film by Brian De Palma."
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, here are more links and quotes from the recent French reviews of Passion:
Eric Libiot, L'Express
"If the confrontation turns into a game of mirrors depalmesque, it remains constrained by a storyline with a fairly basic depiction of the workplace (in any case, De Palma doesn’t care and filmed it with one eye) and suspense visible for miles, slow in coming, with cushy staging. Taking the principles he sublimated in his time and in which he wades today (parallel editing, split screen ...), he is unable to offer anything other than his old recipes. It is a thousand times better to eat a good crêpe."
The Vug, Celluloidz
"As there is a genuine rise in dramatic tension, once the film is launched on its rails, its greatest merits revert just as much to the direction of Brian De Palma as to the interpretation of the always flawless Noomi Rapace. As soon as she enters the dark phase of her character, the plans begin to lose their horizontality and the lighting becomes abnormally low. We will thus view Passion, like all of De Palma’s films since Snake Eyes, mainly to understand how the director manages to transcend a weak screenplay by the sheer force of his cinematic mise en scène. For those who want a consistent story, they will unfortunately go elsewhere."
"Divided into two parts, this thriller is draped in two very different atmospheres, the first all in slow movements, the second bathed in shadow, as to describe these two women, one light and one dark. Between dream and reality, Brian De Palma revisits his own mythology and delivers a thriller effective and captivating."
Nicolas Bardot, Film De Cult
"But as in Body Double, film unthinkable, fascinating, exciting to death and kitschy as hell, it is not the mere fact of being shocked that makes Passion successful. It is, as in the best films of De Palma, this lack of fear of ridicule and grandiose momentum that make its intrigues heartening, where extreme feelings of the characters explode on the screen. The cold and trapped universe of Passion brightens, as in the stuffy fashion show where a model ends up kicking your ass. Yet, Passion does not reach the astro level of Dressed To Kill or Body Double. The original script's absurdity remains absurd, the cool tones of the images shot by José Luis Alcaine (Almodovar collaborator) sometimes makes the film a little too dull where it should have dreamed hot, and Passion, in the film of De Palma, is perhaps a bit hollow."
THE FURY – 2 CD SET
MUSIC BY JOHN WILLIAMS
LIMITED EDITION OF 3500 UNITS
RETAIL PRICE: $29.98
FILM SCORE REISSUE PRODUCED BY NICK REDMAN AND MIKE MATESSINO
SOUNDTRACK ALBUM REISSUE PRODUCED SOR SONY MUSIC BY DIDIER C. DEUTSCH
FILM SCORE REISSUE MASTERED BY DAN HERSCH AT D2 MASTERING
SOUNDTRACK ALBUM MASTERED BY TIM STURGES AT BATTERY STUDIOS
LINER NOTES BY JULIE KIRGO
ART DIRECTION BY JIM TITUS
"La-La Land Records, 20th Century Fox and Sony Music are proud to present one of John Williams finest scores ever – 1979’s THE FURY, directed by Brian DePalma and starring Kirk Douglas and Amy Irving. With a running time of 1:54:00, this new and improved 2 disc set features stunning sound (especially on Disc 2, the original soundtrack album), detailed liner notes by Julie Kirgo and art direction by Jim Titus. A definite upgrade in ALL departments from the previous Varese release, this fantastic score should be on the shelf of any soundtrack fan."
"The promise of seeing something new, or at least novel, appeals to the child in each of us. It must be linked to the thrill of unwrapping a gift. Regardless of whether the present turns out to be a pair of socks (or, to cite one of the snoozefests in the current Music Box series, Lord Jim), there's undeniable satisfaction in knowing someone wrapped it up nice to gain our attention. P.T. Barnum demonstrated time and again that a good showman can make an audience feel good even about being taken in by a hoax; the buildup, which grows in direct proportion to the size of the audience, becomes a spectacle in itself.
"As it turned out, Phantom of the Paradise was a perfect fit for Friday night's carnival atmosphere. It's a great funhouse of a movie, complete with scary clowns and oversized sets (by the great Jack Fisk, who also worked on The Master, screening next weekend in the 70-millimeter festival). Even on plain old 35-millimeter, it was a blast on the Music Box's big screen. DePalma made the film at the height of his abilities as a showman (just after Sisters and not long before Carrie), indulging in split-screen sequences, cartoonish sight gags, and elaborate camera movements that exist just to call attention to themselves."
In an interview with Le Monde's Sandrine Marques, De Palma talked about the inevitable with Happy Valley: "For years, I’ve looked for a space like the shower in Psycho. The place where you feel safe and secure but which is desecrated. I have an idea I might be using that for my next film."
And in a great interview with Télérama's Laurent Rigoulet and Jacques Morice, De Palma further sheds some light on how he sees the story, describing it as "the descent into hell of a model coach caught up in a story of pedophilia. It’s an incident which has troubled many Americans. A compelling story worthy of Henrik Ibsen or Arthur Miller. Suffice it to say that we will have to work hard there to interest producers right now. But Pacino is taking it wholeheartedly, this is a dream role for him. If we can get it there, it could be a great American film."
(This last interview might have taken place prior to January's announcement that Edward R. Pressman had come aboard as producer; De Palma also says he will "probably" do this film with Pacino, which indicates that he hadn't yet signed on for the project when he did this interview.)
"dreams are my reality"
"rain and tears"
"stairway to heaven"
DE PALMA: Hmm... [Pauses] Well, as a matter of fact, somebody put RAISING CAIN together the way it was originally supposed to be done, and it gave me lots of food for thought. RAISING CAIN was originally supposed to start with the woman's story-- you'd follow her for the first 20 minutes-- and then Lithgow's doesn't start until you see him smother her. But when I was cutting the movie, I didn't think her story was interesting enough to sustain the long beginning, so I reversed it and put the Lithgow stuff firstand used the opening scenes as kind of a flashback. Somebody got ahold of the original script and put it back the way it was supposed to be, and I thought it could be really interesting to actually do it the way I always wanted to.
FANG: You mean re-edit, or go back and completely remake it?
DE PALMA: Redo it. It's a very good idea. It was based on an experience I had with a woman who was in the midst of a divorce. She used to come by my house after work, we would spend a few hours together and then she would go home. But she would fall asleep all the time because she had been working all day, and I would sort of watch her sleep, and I thought about what would happen if she slept through the night. That was the initial concept for RAISING CAIN: the fact that she's with her lover and we know she doesn't go home. It's a very good idea, but I just didn't think it was strong enough in relationship to the Lithgow stuff, and that may have been a mistake.
FANG: Isn't that concept an extension in many ways of Angie Dickinson's subplot in Dressed To Kill?
DE PALMA: Yes, to some degree. But we're not always so conscious of these things the way people who study these films and look for all the signs are. We do things intuitively, and then you remind us of the similarities, and maybe you're right.