TWO MORE BLU-RAY REVIEWS
Now that Criterion has announced that most people will be receiving the corrected version of Brian De Palma's Dressed To Kill, it seems that only a select few will end up seeing the original version that has been getting the bad press. Even so, here are links to two more reviews of the incorrect version:
"It's difficult to imagine a horror thriller more purely enjoyable than Dressed to Kill, one of the highest peaks of Brian De Palma's career and a gleeful joyride of a film that continues to reward after countless viewings. Though it received a mixed critical response due to De Palma's perceived cribbing from Hitchcock (which didn't affect a huge turnout from the public), the film has gone on to be considered one of the '80s' most accomplished directorial feats in the horror genre and ground zero for the modern erotic thriller, still sitting high above its many successors. Much of the fun here lies in the insidious surprises tucked into both its plot and cinematic language, on the surface a playful riff on Psycho, as well as visual flourishes found in the foreground and background of the frame in every single scene."
[Note: read this Mondo review for a terrific summary of the history of Dressed To Kill in its various home video releases. Below is the final part of this, the now-early, incorrect Criterion version...]
"Two years later, De Palma's classic got another round on both American Blu-ray and DVD courtesy of The Criterion Collection, presenting a combination of new and preexisting extras. However, the presentation of the film itself is a baffling beast indeed. Touted as a new 4K transfer supervised by De Palma, it starts off promisingly enough with the restoration of the original scope Filmways logo (finally!) after the MGM one and looks significantly more detailed than before, with potent albeit somewhat more golden colors compared to the past MGM version. It also sports more picture information on the left side, in fact quite a bit more in many shots. Then after the first reel (when Dickinson leaves the gallery), things go haywire as the image squishes in significantly, resembling a major anamorphic squeeze as everyone suddenly looks anorexic and distorted. The jump is obvious right away when Dickinson starts walking down the museum steps, and this strange anomaly remains for the rest of the running time (complete with that wealth of additional but possibly extraneous information on the left, which has a habit of throwing the compositions out of whack in some shots). The frame grabs seen in the body of this review are from the Arrow release, but you can see the same shots from the Criterion one by clicking here for images one, two, three, four, five, six, and seven. As you can see, the compositional balance veers all over the place along with the color saturation, which ranges from pale and yellow in some shots to beautiful and significantly improved in others (such as the first split diopter one of Nancy Allen and Bobbi). The LPCM mono audio is true to the original theatrical mix and sounds excellent, while optional English subtitles are provided. UPDATE: Criterion has implemented a disc replacement program for anyone who purchases the Blu-ray or DVD; at least the first wave of retail copies will all be as described above but can be exchanged for a version with the correct framing."
"The new extras on this disc start off with an interview conducted with De Palma by filmmaker Noah Baumbach that runs just under twenty minutes. It's an interesting piece that sees the director talk about how his style evolved over the years, how this film was initially received during its original run, working with Michael Caine on the film, his admiration for the score and quite a bit more. We also get a new sixteen minute interview with lead actress Nancy Allen who shares her thoughts on being cast in the film, her character and related wardrobe and what it was like working with some of her fellow cast members on the film. Producer George Litto talks for twelve minutes about working with De Palma not just on this movie but on a few other pictures as well and he shares some input on his relationship with the director. Composer Pino Donaggio gets sixteen minutes in front of the camera to also discuss what it was like working with De Palma not just here but on some other projects. He also offers some insight into his creative process and his thoughts on the movie itself. Body double Victoria Lynn Johnson is an interesting choice for an interview, she gets nine minutes here to talk about her work in the movie and as a model (she was a Penthouse Pet Of The Year in 1978) and what it was like doubling for Dickinson. The last of the new interviews conducted for this release is a ten minute segment with Stephen Sayadian who was the art director in charge of the photography for the film's original poster. He gives some input on creating the image, that has since gone on to be pretty iconic, and the importance that it played in properly marketing the film to theater goers. Aside from the new interviews we also get a featurette called Defying Categories: Ralf Bode that features filmmakers Michael Apted and Peer Bode and runs just under eleven minutes. Here they talk about the effectiveness of the methods employed by the film's late cinematographer and specifically what they bring to the movie."