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Washington Post
review of Keesey book

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Exclusive Passion
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Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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Thursday, November 24, 2016
'BODY DOUBLE' IN NEW YORK THIS WEEKEND
PAIRED WITH KIESLOWSKI'S 'A SHORT FILM ABOUT LOVE' FRI/SUN - ANTHOLOGY FILM ARCHIVES
Brian De Palma's Body Double will be paired with Krzysztof Kieślowski's A Short Film About Love this Friday (November 25) and Sunday (November 27) at Anthology Film Archives in New York. The screenings are part of the series, "Voyeurism, Surveillance and Identity in the Cinema." Here's the website's description:
This summer we inaugurated an ongoing collaboration with the International Center of Photography (now located in close proximity to Anthology, at 250 Bowery) with a film series inspired by the exhibition, PUBLIC, PRIVATE, SECRET. The ICP’s debut show in their new home explores the concept of privacy in today’s society and studies how contemporary self-identity is tied to public visibility. The film series expands on this idea by gathering a selection of films that engage the themes of voyeurism, surveillance, and privacy, and that demonstrate the various ways that media is used to fashion a sense of identity. Combining narrative films like De Palma’s BODY DOUBLE and Kieslowski’s A SHORT FILM ABOUT LOVE with experimental films, documentaries, and video art, the series demonstrates how central these ideas have been throughout the history of the cinema.

Brooklyn Magazine's Kenji Fujishima previews the screenings, as well:
Perhaps it’s best to view the much-maligned Body Double not as a serious thriller, but as a deadpan comedy with thriller elements. So overtly derivative are the Hitchcock homages here that one can’t help but laugh at how ridiculously blatant De Palma’s being this time around. But the joke’s not just on us, but also on Jake Scully (Craig Wasson), with much of the first half playing as a lampoon of the struggling-actor hero’s professional, personal and sexual inadequacies. De Palma reserves his most amusing meta-movie conceits, though, for the second half, with Jake playacting a porn producer in order to get close to adult star Holly Body (Melanie Griffith), his descent into the hardcore-porn underground depicted as a hedonistic music video set to Frankie Goes to Hollywood’s “Relax.” In the end, it’s Jake’s own re-imagining of the film’s opening scene—his claustrophobia-induced failure while playing a vampire in a low-budget exploitation flick—that helps him finally achieve the potency he so desperately seeks throughout. With the film’s central mystery pretty easy to guess if you know Vertigo well, one is free to simply enjoy Body Double as an endlessly playful lark from a filmmaker interested in gratifying himself and daring us to watch.

Posted by Geoff at 10:25 AM CST
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Tuesday, November 22, 2016
HOLLY JOHNSON ON DE PALMA'S 'RELAX' VIDEO
FACEBOOK POST - DE PALMA DIRECTED PROMO VERSION OF VIDEO FOR MTV


Previously:
De Palma's Flashdance Parody, In The Seemingly Forgotten Video For Relax

Posted by Geoff at 11:43 PM CST
Updated: Tuesday, November 22, 2016 11:48 PM CST
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Sunday, October 16, 2016
THE CASTRO TONIGHT - VERTIGO / BODY DOUBLE

Posted by Geoff at 9:13 PM CDT
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Saturday, September 24, 2016
U.K. GETS 'BODY DOUBLE' BLU FROM INDICATOR
REGION 2 DUAL-FORMAT RELEASE TO INCLUDE NAPOLITANO BONUS, ISOLATED SCORE, 40-PAGE BOOKLET, MORE
Indicator is a new British Blu-ray/DVD spinoff of Powerhouse Films that will focus on cult movies. Its first two releases, both on October 24, will be limited dual-format editions of Brian De Palma's Body Double and John Carpenter's Christine (the latter will include audio commentary by Carpenter and star Keith Gordon). Both are region 2 releases limited to 5000 copies each.

The Body Double release will include the film's recent 4K restoration, as well as last year's 38-minute bonus feature, "Pure Cinema," in which first assistant director Joe Napolitano discusses De Palma's working methods and visual approach. It will also include the film's isolated score, an 8-minute TV interview with Craig Wasson from 1984, and a 40-page booklet "with a new essay by Ashley Clark and archival reprints, including a lengthy 1985 interview with De Palma." It will also have bonus features that had previously appeared on the 2002 DVD editions of the film.

ROBBIE COLLIN: WHY 'BODY DOUBLE' DESERVES ANOTHER LOOK - "IT ISN'T TRASH, IT'S UNREPENTANTLY TRASHY"

The Telegraph's Robbie Collin previews the Indicator release by saying, "When it was released in 1984, Brian De Palma's follow-up to Scarface was dismissed as exploitative trash. And that's exactly what he wanted." Here's a bit of an excerpt:

Few directors seize an opportunity like Brian De Palma. In 1983, riding high on the success of Scarface, De Palma was offered a three-film deal by Columbia Pictures, who wanted to see where this stylish and controversial pulp auteur would go next.

The following year, he repaid them with a film that was so squalid, so bloodthirsty, and so critically pummelled that three weeks after its release – roughly, the amount of time it took to vanish from cinemas – the studio had torn up his contract, painted out his private parking space, and thrown him off the lot.

The film the then-44-year-old director gave them was Body Double: a Los Angeles-set erotic thriller in which a Peeping Tom becomes the key witness in the murder of a nymphomaniac trophy wife. Among its notable traits are an apparently wilfully bad lead performance from a virtual nobody, entire scenes openly plagiarised from Alfred Hitchcock, walk-on appearances from genuine adult film stars, and a sequence in which the aforementioned desperate housewife is skewered on an enormous safe-cracking drill. As far as Columbia was concerned, it was a $10 million fiasco. But for De Palma, the outrage was worth every last buck...

...Talking to Quentin Tarantino for a 1994 edition of the BBC’s arts series Omnibus, De Palma admitted that “after these battles…I said, ‘OK, you want to see violence? You want to see sex? Then I’ll show it to you.’” In short, the film was an almighty up yours – aimed not just at the censors, but also the critics, commentators and Hollywood players for whom Brian De Palma films were just brand-name misogynistic trash.

Except Body Double isn’t trash, misogynistic or otherwise. It’s unrepentantly trashy – not the kind of film you watch while your parents or kids are in the house, or with your curtains open. But it’s also a complex, provocative suspense thriller that bears comparison with the three immaculate Hitchcock classics – Vertigo, Psycho and Rear Window – it gleefully drags through the sludge.


Posted by Geoff at 4:18 PM CDT
Updated: Saturday, September 24, 2016 4:31 PM CDT
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Friday, September 23, 2016
R.I.P. JOE NAPOLITANO - PASSED AWAY JULY 23 2016
FIRST ASSISTANT DIRECTOR ON 'BLOW OUT'/'SCARFACE'/'BODY DOUBLE'/'WISE GUYS'/'THE UNTOUCHABLES'
Joe Napolitano passed away July 23 in Los Angeles, following a battle with cancer, Variety reports. He was 67. Napolitano was a respected TV director who spent the early part of his career as first assistant director on feature films, where he worked most prominently on every Brian De Palma picture between 1981 and 1987: Blow Out, Scarface, Body Double, Wise Guys, and The Untouchables. He also worked with De Palma on the Bruce Springsteen music video, Dancing In The Dark (1984). Napolitano discussed the making of Body Double for the Carlotta Ultra Collector's Box of the film, which was released in France last December.

In her 1984 book on the making of Body Double (Double De Palma), Susan Dworkin describes Napolitano as one of the three major figures on the set (aside from De Palma). Napolitano "had worked with Brian on Blow Out and Scarface and knew him as well or better than anyone else on the production," Dworkin writes. "Short and good-looking, with an uptilting mouth always ready to grin, Joe was responsible for seeing to it that Brian got exactly what Brian wanted. Howard Gottfried called him by the affectionate Yiddish diminutive 'Yossele' because he gave the impression of being such a sweet guy, a regular pussycat."

Following Wise Guys, which had co-starred Danny DeVito, Napolitano worked as first assistant director on DeVito's directorial feature debut, Throw Momma From The Train.

Napolitano can be seen shadowing De Palma on the sets of Body Double and The Untouchables in the two pics below:


Posted by Geoff at 8:24 AM CDT
Updated: Saturday, September 24, 2016 10:57 AM CDT
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Friday, August 19, 2016
SONY 'BODY DOUBLE' BLU-RAY MOD COMING IN OCT
According to Blu-ray.com, Sony Pictures Home Entertainment today revealed five titles as part of its first waves of Manufactured on Demand Blu-ray releases. One of those titles is Brian De Palma's Body Double, which will be available beginning in October. Body Double will be presented in full high definition with lossless audio, as will the others in the program.
(Thanks to Adam!)

Posted by Geoff at 5:17 PM CDT
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Tuesday, August 2, 2016
REFN PRESENTS 'BODY DOUBLE' IN U.K. FRIDAY
SERIES OF MOVIES THAT INSPIRED REFN INCLUDED 'CARRIE' LAST MONTH


Picturehouse cinemas in the U.K. are hosting a series called "Nicolas Winding Refn Presents…" It began July 15th with Brian De Palma's Carrie ("Nicolas Winding Refn’s verdict: ‘a visual feast.’"), and from this Friday (August 5th) will be De Palma's Body Double ("Nicolas Winding Refn’s verdict: 'They should make more movies like this nowadays.'"). The other films in the series are David Cronenberg's Videodrome, Jonathan Glazer's Under The Skin, David Lynch's Mulholland Drive, and Dario Argento's Suspiria.

Previously:

'NEON DEMON' REVIEWS OFTEN MENTION DE PALMA

CAHIERS DU CINEMA ON 'NEON DEMON'


Posted by Geoff at 11:45 PM CDT
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Monday, August 1, 2016
CRAMPTON FLESHES OUT 'BODY DOUBLE' SCENES
"IT WAS AN HONOR TO WORK WITH ONE OF THE GREATEST FILMMAKERS OF ALL TIME"(BUT STILL WAITING FOR BRIAN TO CALL)
Back in 2012, Barbara Crampton spoke briefly about filming Body Double to Fangoria's Chris Alexander. In an article today at A.V. Club, Crampton goes into even more detail about the scenes that were cut prior to filming, and also about becoming friends with Brian De Palma, and then seeing him again years later. Here's the excerpt:
When I was first offered the role, [my character had] three scenes. There were two where Craig Wasson’s character tries to talk me into going back with him, because my character had broken up with him. And then, in the last scene, he finds me in bed with another guy. So I was quite excited, right? I went in an auditioned for this role, and I got the part. I was thrilled that I was going to be working with Brian De Palma. But then the night before I was scheduled to work, somebody called me and said, “Listen, they cut the two acting scenes. You only have the scene where you’re in bed with the guy.” That’s it. No dialogue. I said, “Really? You’re cutting all of the dialogue?” And he says, “Yeah, but they’re going to shoot it all day, and they really want to make a big deal out of it. You’re going to be on screen on a long time. They really want you for the role.” And I thought, “Well, it’s Brian De Palma. I should do it, because it will lead to other things. They always work with the same people, so I’m going to do it.”

So, I show up on the set, and I shoot my scene, and in fact, I did do that scene all day. We did it for six or seven hours. I mean, all day. And I became friendly with Brian, and I had a party at my house the following week, and he came. I even started dating his first AD for a short time. I felt all cozy with these guys. And then, years later, I still hadn’t gotten a call. Even years later, when I’d been working, and people knew my work a little bit, [I was] still trying to get a job with Brian.

Then I’m sitting in the Century City mall, which doesn’t exist anymore—this is maybe 10 or 15 years ago—with my friend Shanti. [We] were sitting there having lunch, and somebody walks up, and he says, “Hey, Barbara.” And I look up, and it’s Brian De Palma. And I look at him, and I say, “Brian!” And he goes, “How are you? What are you doing?” I was kind of amazed that he remembered me and that he came up and talked to me, because he could have been having lunch and decided he was going to pay his bill and leave. Well, he came over, and noticed me, and said hello. So, I thought, “I’m going to use this opportunity to tell him my little story about, you know, I got the part, then I lost the scene, but I did it because I want to work with you again, and maybe you’ll use me again,” and he’s like, “Oh, yes! I will, Barbara. You’re right. I’m going to call you. Yes. You’re on my mind. I’m going to think about you. I am definitely going to use you in something else.”

Well, I am still waiting for that call from Brian De Palma. I haven’t given up, but I’m still waiting. But all in all, I will say that even if that was the only time I ever got to work with him, I’m glad that I did, because it was an honor to work with one of the greatest filmmakers of all time. To be on on set with him and have him direct me. So, in whatever small capacity of a role that I had, I’m really happy that I did it. And Brian? Are you listening? Are you reading this? [Laughs.]


Posted by Geoff at 10:11 PM CDT
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Thursday, June 9, 2016
VIDEO: 'BODY DOUBLE' SCENE ANALYSIS
FROM BRAD DEANE, TIFF BELL LIGHTBOX SENIOR MANAGER OF FILM PROGRAMMES

Posted by Geoff at 6:32 PM CDT
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Thursday, February 11, 2016
VIDEO: UNBOXING CARLOTTA'S 'BODY DOUBLE' SET

Posted by Geoff at 6:09 PM CST
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