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Washington Post
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Exclusive Passion
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AV Club Review
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Sunday, June 5, 2016
'THE UNTOUCHABLES' IN 70MM
AT MUSIC BOX IN CHICAGO JUNE 22, AT SOMMERVILLE IN BOSTON JUNE 13


In case you missed this before, Brian De Palma's The Untouchables will screen in 70mm at the Music Box Theatre in Chicago on Wednesday, June 22nd, at 7:30pm. The Music Box had built a 40-foot screen in anticipation of the 70mm release of Quentin Tarantino's The Hateful Eight this past December, and have subsequently been screening a series of films in that format. The screening is also part of the Music Box's De Palma retrospective, which runs that entire week (June 17-23).

A 70mm print of The Untouchables will also screen at the Somerville Theatre in Boston on Monday, June 13th (7:30pm). This will kick off a four-day series called "The World Is Yours: Brian De Palma on Film," which is presented by the Independent Film Festival Boston in partnership with A24, and ends with a free screening of the De Palma documentary.


Posted by Geoff at 8:42 PM CDT
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Thursday, April 14, 2016
TWEET: VIOLENT FEMMES DRUMMER
"ALMOST MADE IT INTO THE UNTOUCHABLES"

Posted by Geoff at 11:27 AM CDT
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Sunday, February 21, 2016
MORRICONE: DE PALMA MADE RIGHT CHOICE
IN DECIDING WHICH PIECE OF MUSIC TO USE FOR 'UNTOUCHABLES' COURTROOM CLIMAX


Ennio Morricone recently discussed a handful of his film scores with Entertainment Weekly's Madison Vain, and included a story about The Untouchables:
For the unforgettable final scene of Brian De Palma’s gangster epic, in which Prohibition agent Eliot Ness (Kevin Costner) brings Al Capone (Robert De Niro) to justice, Morricone presented nine possible options. As he remembers it, he hoped De Palma would choose any of them except the seventh—which, of course, is exactly the one the director wanted. “In the end, he was absolutely right,” the composer says. Celebratory music is a rare mode for Morricone, who favors more hypnotic, moody creations. “But De Palma chose the piece that was most like [the ending]—it showed the triumph of the police over the bad guys.”

Posted by Geoff at 11:54 PM CST
Updated: Sunday, February 21, 2016 11:58 PM CST
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Monday, April 13, 2015
'UNTOUCHABLES' TUESDAY IN CHICAGO
CHICAGO FILM CRITICS ASSOCIATION EVENT HOSTED BY PETER SOBCZYNSKI
Brian De Palma's The Untouchables will screen twice on Tuesday, April 14-- at 1pm and 7pm at the Elk Grove Theatre (sometimes referred to as the Elk Grove Cinema). This is a Chicago Film Critics Association special event, and will be hosted by Peter Sobczynski, who will also lead a post-film discussion. De Palma is Sobczynski's favorite director, so it should be lively.

Posted by Geoff at 11:32 PM CDT
Updated: Monday, April 13, 2015 11:36 PM CDT
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Monday, March 9, 2015
VIDEO: 'THE 20 GREATEST SLOW-MO SCENES'
ONE MAN'S OPINION, SURE, BUT EDITED QUITE NICELY; INCLUDES 'UNTOUCHABLES'

The video above, called "The 20 Greatest Slow-Mo Scenes," was posted to Vimeo four days ago by Invenire Films, with the description, "The 20 greatest, or most powerful, uses of slow-motion in film, based solely on my personal opinion." Off the top of my head, I can think of some obvious things that probably should have been included, such as Bonnie and Clyde, The Wild Bunch, and The Godfather, as well as so much more De Palma. But this video is so well-edited, and apparently personal to its maker, it's hard to complain.

Posted by Geoff at 8:09 PM CDT
Updated: Monday, March 9, 2015 8:12 PM CDT
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Monday, February 23, 2015
'UNTOUCHABLES' MONDAY NIGHT IN PASADENA
AND PRODUCTION DESIGNER WHO GOT HIS START AS A PA ON 'UNTOUCHABLES' SET
Thanks to Matthew for letting us know about Monday night's 7:30 screening (February 23) of Brian De Palma's The Untouchables at the ArcLight in Pasadena, California. The screening is part of the ArcLight's Road to Gold Academy Awards series.

A few weeks ago, Daily Herald columnists Jamie Sotonoff and Dann Gire wrote about Dan Clancy, a production designer who got his start as a production assistant on Brian De Palma's The Untouchables. The column began:
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The moment he stepped into the 1920s Chicago, Dan Clancy knew he'd found his life's calling.

"My dad told me that a movie filming in Chicago was looking for production assistants," the Park Ridge resident told us. "I got lucky enough to get on the movie 'The Untouchables.'

"It was amazing to meet Sean Connery, to meet Brian De Palma. That was pretty cool. On a street off Ogden Avenue on the West Side, they transformed the entire neighborhood into the 1920s and it was just mind-boggling! I saw that and said, 'I want to do this for the rest of my life.'"

That was 1986.

Today, Clancy works as a production designer after moving up through the ranks as a production assistant, set dresser, leadman and set decorator.

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KEVIN COSTNER IN CHICAGO

Meanwhile, Kevin Costner was on the promotion trail last month for Black Or White. The Chicago Tribune's Luis Gomez asked Costner if Chicagoans had showed any resistance to them while filming a movie that included Al Capone as a character.

"No, not at all," replied Costner. "They wanted to see Sean Connery and Robert De Niro. Dallas has a little bit of insecurity about what happened there with Kennedy [Costner filmed the 1991 John F. Kennedy assassination film, JFK in Dallas], but Chicago doesn't apologize for nothing. You don't apologize for Capone. We were here filming for two and a half or three months. I hadn't spent time in a big city before that. I also had never lived 15 floors up where you could look across and see your neighbor. I'd never experienced anyone that close to me in my life. You got to know a person without ever talking to them because you got to see the patterns of their life. You could almost turn into a peeping Tom here."


Posted by Geoff at 12:12 AM CST
Updated: Monday, February 23, 2015 12:16 AM CST
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Saturday, January 24, 2015
ARMANI SAYS FAVE DESIGN JOB WAS 'UNTOUCHABLES'
"I WAS ABLE TO FULLY EXPLORE MY LOVE FOR THE ELEGANCE OF THE 1920s & 1930s"


Yesterday, The Financial Times posted a conversation between Giorgio Armani and Jessica Chastain. In JC Chandor's A Most Violent Year, Chastain's character has just seen Paul Schrader's American Gigolo (which was the first film Armani designed costumes for), and she "wants to express her status by wearing fashionable clothing," Armani states. "I used archival garments that were representative of my work at the time." At the start of the conversation, Armani explains, "The process of making a costume depends on the type of film and the relationship I have with the director. But the real work takes place around the character and the physicality of the actors. I think firstly of the character, of what she does, and how she moves. I imagine her in real-life situations but I model the clothes on the actress. It’s exciting work, as the clothes are silent protagonists of the story and have an important place in the narrative."

At the conclusion, Armani looks back at two early highlights in his film career: "I’ve now designed the costumes for 225 films. My favourites were those I created for The Untouchables, [directed] by Brian De Palma, because I was able to fully explore my love for the elegance of the 1920s and 1930s. But my first film collaboration happened by chance, like all really exciting adventures, when a young film-maker named Paul Schrader asked me to dress Richard Gere. Schrader was fascinated by the modernity of my style. The film was American Gigolo and the rest, as they say, is history."

In a separate article posted about a year ago at the London Evening Standard, upon the release of Martin Scorsese's The Wolf Of Wall Street (for which he also designed the costumes), Armani further discussed designing for the two '80s films:

American Gigolo:
"Richard Gere has a different body type to Leo [DiCaprio]. He has an incredible sensuality and wears every look so naturally, so he was a pleasure to dress. It was 1980 but there was a modernity to the plot, which put a handsome, alluring man at the centre of a psychological thriller.

"At that time, I was motivated by the desire to modernise menswear. In most other areas, new technology was moving forward at a fast pace, but in the field of men’s clothing we were still tied to more or less the same clothes as our fathers and grandfathers wore. I wanted to use softer fabrics and rethink the suit, getting rid of most of the linings and fillings. The unstructured result was a truly new look that preserved its precision while becoming more body-conscious and more comfortable."

The Untouchables
"The time of Prohibition, big gangsters and the first police heroes fighting against the Italian-American Mafia fascinates me. It was a courageous, almost epic, period. It holds major appeal, like all great battles between good and evil: a sheriff and his men fighting against the bad guys, like in the Westerns of the last century, but the fact that it was based on real events made it more fascinating.

"In those years, the volumes were generous and a little bit heavy, with big overcoats completed with the ubiquitous Borsalino hat. The real clothing from that period was quite far removed from my vision as a designer; it was precisely those volumes that, starting in the late 1970s, I wanted to lighten up. So for the film we sought a compromise — credible clothing for the period but more in keeping with my aesthetic.

"I am not sure Kevin Costner changed a great deal between this film and when I dressed him for The Bodyguard in 1992. The Untouchables made him an international star, while The Bodyguard confirmed his status as a sex symbol. What might have happened between the two films is an increase in the public’s estimation of him, but his qualities as an actor remained unchanged."


Posted by Geoff at 2:29 PM CST
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Tuesday, January 20, 2015
CRITIC LINKS 'SELMA' TO 'UNTOUCHABLES', 'POTEMKIN'
"PAY ATTENTION... THIS IS THE CASUALLY BRUTAL WORLD IN WHICH THESE CHARACTERS LIVE"


The Leader's Erich Van Dussen begins his review of Ava DuVernay's Selma by linking its approach with that of Brian De Palma's The Untouchables:

"Early in The Untouchables (1987)," writes Van Dussen, "director Brian DePalma constructs a quaintly banal Depression-era scene in which a young girl enters a corner market, carries on an innocent exchange with the shopkeeper – and is horrifyingly struck down with a sudden act of violence. That sequence could be dropped whole into a filmmaker's textbook, both for its narrative skills at establishing the vital stakes for the story that will follow and for its cinematic canniness at riveting our focus to the screen. Pay attention, it tells us, because this is the casually brutal world in which these characters live. If such a textbook exists, director Ava DuVernay has absorbed every page. Her third feature, Selma (rated PG-13), is a stirring account of a crucial few months in the civil rights battles of the 1960s, imbued with all the respectful dignity that such a subject demands."

Toward the end of the review, Van Dussen returns to the Untouchables theme:

"A scene early on echoes DePalma's Untouchables moment in its out-of-nowhere horror," Van Dussen states. "In another sequence, the retaliation of white Alabama troopers against King’s marchers during the first attempted Selma-Montgomery march is filmed as a kind of obscenely violent poetry that recalls the classic Odessa Steps scene in Battleship Potemkin (1925) for its portrayal of human suffering as a civic act."


Posted by Geoff at 3:00 AM CST
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Friday, January 16, 2015
COSTNER THANKS KASDAN, DE PALMA, ROBINSON, SHELTON
"THERE'S REALLY NOT ENOUGH WORDS-- YOU HANDED ME MY CAREER"
Kevin Costner was honored with a Lifetime Achievement Award last night at the 20th annual Critics' Choice Movie Awards, presented by the Broadcast Film Critics Association. Following an introduction by Rene Russo (a longtime friend of Costner's, fighting laryngitis) and Storage Wars auctioneer Dan Dotson, a montage of clips from Costner's films was screened, which included several bits from The Untouchables, highlighted by Costner's "You're not from Chicago" line in the movie. During his acceptance speech, Costner said, "I'd like to thank the directors who took a chance on me early: to Lawrence Kasdan, Brian De Palma, Phil Robinson, and of course, Ron Shelton. There's really not enough words-- you handed me my career."

Posted by Geoff at 12:13 AM CST
Updated: Friday, January 16, 2015 12:14 AM CST
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Wednesday, January 14, 2015
COSTNER TO GET BFCA LIFETIME ACHIEVEMENT AWARD
AT BFCA CRITICS' CHOICE MOVIE AWARDS, JAN. 15 - LIVE ON A&E


Kevin Costner will receive a Lifetime Achievement Award from the Broadcast Film Critics Association, during the BFCA Critics’ Choice Movie Awards on Thursday, January 15th. According to Variety's Malina Saval, the ceremony will be broadcast live on A&E. Saval quotes BFCA president Joey Berlin: "The choice of Kevin Costner to receive the Critics’ Choice Lifetime Achievement Award was inspired by seeing his performance in Mike Binder’s terrific new movie, Black or White. Playing a grieving widower drawn into a custody battle over his adorable granddaughter, Kevin shows depth and range that reminds us of what a wonderful actor he truly is."

Posted by Geoff at 11:44 PM CST
Updated: Wednesday, January 14, 2015 11:45 PM CST
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