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.