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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« February 2025 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


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The Filmmaker Who
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Jim Emerson on
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Scarface: Make Way
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Carrie: The Movie

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italkyoubored

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De Palma a la Mod
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Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
All topics  «
Ambrose Chapel
Are Snakes Necessary?
BAMcinématek
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Beaune Thriller Fest
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Cop-Out
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De Palma Blog-A-Thon
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Dionysus In '69
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Dressed To Kill
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Frankie Goes To Hollywood
Fury, The
Genius of Love
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Get To Know Your Rabbit
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Happy Valley
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Iraq, etc.
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Laurent Bouzereau
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Mod
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Murder a la Mod
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Sunday, February 9, 2025
JOHN LITHGOW VISITS THE CRITERION CLOSET
"I HAVE BEEN THREE OF BRIAN'S VILLAINS..."
https://www.angelfire.com/de/palma/blowoutlithgow45.jpg

"I have been three of Brian’s villains," John Lithgow says in the Criterion Closet video below, as he pulls a copy of Brian De Palma's Blow Out off the shelf. "They’re all kind of innocuous, slightly faceless men who are supposed to be the last person you would suspect of doing horrific Brian De Palma things. And, boy, just get a load of me in Blow Out. It’s really a masterful, wonderful film that makes you think differently for the rest of your life about movie sound."
 

Posted by Geoff at 10:58 PM CST
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Saturday, February 8, 2025
NEW BOOK - 'BRIAN DE PALMA / MASKED OPACITY'
A STUDY OF DE PALMA'S CINEMA BY WELLINGTON SARI, PUBLISHED IN PORTUGUESE
https://www.angelfire.com/de/palma/wellington3.jpg

A few months ago saw the publication, in Portuguese, of a new book by Wellington Sari, Brian De Palma / Masked Opacitiy. The book came together as a result of Sari's master's thesis, and can be ordered here. An English-language version of the book's preface by Luiz Carlos Oliveira Jr. can be read at the blog The Earth is Round - here's an excerpt:
Let us remember that in Michelangelo Antonioni's matrix film, Blow-Up (1966), a photographer records the signs of a crime that he only notices after developing the images. The analysis a posteriori of the enlarged photos makes it emerge – in the residual form of a “stain”, or what Roland Barthes would call point[I] – something that, however, had not caught the photographer’s eye during the immediate experience of the event. Perception is delayed and becomes dependent on a mediating device. The crime only appears in the image, in the photograph, in the representation, with all the shadow of doubt entailed by the perceptual decalation and the phenomenological reduction of reality to the two-dimensional surface of the photographic image.

Brian De Palma embodied the “syndrome Blow-Up" from Greetings (1968), which recreated the scene of photographic enlargement with an undisguised caricature tone and treated in a satirical way the theme of political conspiracy and paranoia – then in vogue, especially in the aftermath of the assassination of John F. Kenedy and his shocking record in the most famous amateur film in history, the super-8 filming of Abraham Zapruder.

Then in A shot in the night (Blow Out, 1981), the plot becomes a serious topic and the dialogue with Blow-Up is improved: Brian De Palma reinvents the hermeneutic vertigo of Antonioni's film through the exhaustive anamnesis of an event also recorded as a sound recording, and not just as an image – the reflection on the gaze-frame and the point of view unfolds into an investigation about subjective sound and the point of listening.

So much Blow-Up , the A shot in the night they speak of a reality that is inaccessible, or that can only be reached later, with the help of materials recorded in image or sound. The number of apparatus, devices and supports needed to obtain the desired information multiplies from one film to the next, demonstrating that the mediation of perception by technology has become gradually more complex in the fifteen years that separate them.

In his book about Brian De Palma, French critic Luc Lagier observes that the multiplication of mediating instruments allows the director to emphasize the cinematographically constructed character of the plot's interpretation. To understand what “really” happened in the accident he witnessed and recorded, the protagonist of A shot in the night he subjects his recording to a series of manipulations and, in the end, what remains is no longer reality, but its fictional reconstruction. "In A shot in the night, De Palma shows that every element taken from reality, reconsidered in another context, is transformed”.[ii]

Once faced with the possibility of discovering a plot capable of giving coherence to the chain of signifiers that conforms reality to an unconvincing narrative – the ability to sew the open and ambiguous meaning of the world into a closed scheme is characteristic of the paranoid's hermeneutics – , the sound technician played by John Travolta enters a tireless investigative spiral, whose infernal machine only stops turning when he finally repeats the tragedy as farce, in the heady sequence in which his companion, who embarked on the detective venture with him, is murdered while the Fireworks light up the sky over Philadelphia during Independence Day celebrations.

The Fabelmans reaches similar conclusions about the power of transforming reality through cinematic manipulation, but the consequences of this change of point of view, in Spielberg's universe, are totally different from those we would see if it were a Brian De Palma film. In The Fabelmans, the discovery of betrayal brings mother and son closer together, creates complicity between them, and reinforces the emotional bond that unites them. The intimate catastrophe is transformed into the renewal of the parental contract. And the fact witnessed in the film is never in doubt: what was filmed really happened, with this belief in the cinematographic image as a revelation of truth being the inescapable condition for reconciliation on the plane of reality to become possible.

In Brian De Palma's cinema, it would be the exact opposite: the image would not give access to the revelation of truth, but to another image, which would, in turn, rest on another. Fitting of doubles, vertigo of copies (no original to back them up). There is no longer transparency, but rather “masked opacity”, a lapidary formula that guides this book. The “syndrome Blow-Up”, in De Palma, always adds to the “effect Vertigo” – the other axis of the Depalmian Mannerist gear –, to the obfuscating power of an image that, as in Hitchcock’s masterpiece, a body that falls (Vertigo, 1958), causes visual deception not because it hides something, but because it displays it in excess.

Unlike what happens in Spielberg's cinema, in Brian De Palma it is necessary to distrust the image, never truly believe in it in the way of a child amazed at the appearance of a flying saucer. Vision as a tool of knowledge has failed, without the fable-man (Fabelman) being able to come to help or redeem it through the “magic of cinema” combined with faith in good feelings. The obsession with the image now leads to the abyss and tragedy, or rather, the tragedy of mise en abyme.[iii]

Or just frustration, as Brian De Palma learned early on, even before becoming a filmmaker. Wellington Sari describes, in an account similar to a cinematic script, the scene in which a young and inexperienced Brian De Palma perches in the top of a tree armed with a camera with which he intends to record his father's supposed adultery: “Through the viewfinder , the boy sees a man and a woman, framed by the window frame. Click. Click. There is an ellipse. When developing the photographs, a disappointment: is it a kiss? A warm hug? A little secret told in the ear? No, it's just an illusion caused by perspective. A complicit look? Embalmed by photographic rigidity, the gesture is lost in ambiguity. Mission not accomplished: the young man was unable to obtain images that prove that his father, an orthopedic surgeon, is having an extramarital affair with one of the nurses at the hospital. Jefferson Medical College. Nor did the tape recorder, installed by the boy on his father's telephone, provide irrefutable proof.”

The “mother scene”, thus, gives rise to the birth of the “watchman protagonist”, another prodigious expression with which Wellington Sari clarifies the modus operandi of Brian De Palma's cinema, in which the panoptic regime of vision, as the director almost didactically explains in Serpent eyes (Snake Eyes, 1998) e Femme Fatale (2002), it is less the guarantee of total transparency than the entanglement in a myriad of simulacra. The vigilant eye sees everything except what it was looking for. It's the police survey of “The Stolen Letter”, a story by Edgar Allan Poe discussed at the beginning of the book, when we comment on this paradox of vision that scrutinizes every millimeter of space, but misses the elementary, perhaps the trivial, invisible because too visible.


An excerpt from the book, words by Wellington Sari, via Google Translate:

...As in other witnesses of shocking images, such as Nancy Allen's character in Dressed to Kill, the eyes seem to act as diaphragms that need to open wider to receive the light of the unusual event that unfolds before them.

Let us also remember that excess light, or seeing too much, is problematic. Let us rescue the grains in Greetings (Lloyd finds the image of JFK's assassin in the abstract shaded area of ​​a photograph) or the ricochet of the light beam in Femme Fatale, a 2002 film (to really be able to see, in a world overflowing with images, Laure needs to close her eyes and dive into herself) as manifestations thought up by De Palma that serve to draw attention to the fallibility of vision. Here is another aspect of the masked opacity exercised by the filmmaker: every time the light of truth shines, a shadowy zone appears.

Gillian's illuminated eyes in The Fury are, in fact, symptoms of a dark, destructive power (which ends up exploding John Cassavetes' character). But in Domino (2019), already in the final sprint of his career, the director addresses head-on, and not through analogy, the issue of the fabrication of images as a terrorist act.

4.1. The great witness

The unusual Brazilian title for Roy Baker's film, Only God as a witness, is tempting: if the original A Night to Remember suggests an inner gaze in a literal translation, "a night to remember" would evoke the act of scrutinizing memory in the flow of time, the version chosen for our market aims at the opposite, at the definitive external point of view, that of the Creator. It is prudent not to get too attached to this delirious version, but to embrace its new analogy, at least for a moment: the title takes away from the lookout Fleet and his companion on the topsail their very reason for being. If they are the eyes of the ship and are excluded from the condition of witnesses, then they are nothing.

Or, to be more fair with the possible intentions of those responsible for the version, it adds a religious aspect to the shipwreck. 50. God, to the incomprehension of human beings, only observes the great tragedy. In other words, the effects of his own design. The divine point of view is the gaze of the Creator, but in cinematic jargon it is also the technical name for a camera angle (elevated, in extreme low-angle). De Palma's use of this resource should not seem, at this point, like anything new.

The constant presence of the eye that sees from the sky is a relevant access key to the creative thought articulated by the filmmaker. It is his mastermind certificate, a constituent element of the masked opacity.

The configuration composed of the protagonist-watchman figure and that of the Creator, who watches his own machinations with great wisdom and omniscience, is a cinematic situation, analogous to the director's position. It can be found both in the imaginary conjured up from the Brazilian version of A Night to Remember and in virtually any film that uses a camera (excluding from the equation, of course, the term protagonist-watchman, which we developed thinking specifically about De Palma's style). The simple recurrence of the use of God's point of view, as can be seen in the images selected from Body Double and Passion, could already be enough for the effect to draw attention to itself.


Posted by Geoff at 11:00 PM CST
Updated: Sunday, February 9, 2025 11:00 PM CST
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Friday, February 7, 2025
G.O.A.T. PODCAST - GELDERBLOM TALKS 'CAIN' & 'FURY'
https://www.angelfire.com/de/palma/goatpeet.jpg

From the description at The G.O.A.T. -
Episode 14 - Raising Cain (1992) & The Fury (1978) with Filmmaker Peet Gelderblom

On the latest episode of The G.O.A.T. Craig chats with filmmaker Peet Gelderblom about the work he did that lead to the commercial release of Brian De Palma's Raising Cain - Re-Cut. The conversation ends with a look at an exciting sequence from De Palma's follow-up to Carrie, The Fury.


Posted by Geoff at 5:23 PM CST
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Friday, January 24, 2025
WB POSTS 'BONFIRE' FULL MOVIE ON YOUTUBE - WATCH FREE
THANKS TO RADO FOR THE INFO!

Posted by Geoff at 11:09 PM CST
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Friday, January 10, 2025
'STILL STANDING STRONG'
SPORTS ILLUSTRATED REPORTER VISITED PALISADES CHARTER HIGH SCHOOL ON FRIDAY
https://www.angelfire.com/de/palma/palisadesfire.jpg

After reports and social media, such as the tweets above from this past Tuesday (January 7), Sports Illustrated's High School reporter Tarek Fattal visited the Palisades Charter High School on Friday to check out the damage to the school, where parts of Brian De Palma's Carrie was filmed:
The Palisades Fire roared through Pacific Palisades on Tuesday, and has burned more than 21,000 acres as of Friday afternoon.

Reports Tuesday night appeared to show Palisades Charter High School was engulfed in flames. A Los Angeles-based TV reporter and cameraman were fighting the fires as darkness fell. The cameraman, who went to Palisades High, said: "This is heartbreaking. This is my alma mater. The baseball field is totally gone, some of the buildings are gone."

Despite the carnage the Southern California fires have left in the surrounding community, there’s something the Pacific Palisades community can smile about — the home of the Dolphins is intact.

I went to the Palisades Charter campus on Friday afternoon to see what the status of the school was. What was left? What’s gone? How bad is it?

The answers: A lot. Not a lot. Not that bad — and that’s good.

The backside of the campus saw damage. A number of classrooms and some bungalow-type buildings burned down, but a majority of the campus is unscathed.

The football field and baseball field are fully intact. The front of the school, where a large grass quad sits, is as green as can be. The basketball gym is untouched. The aquatic center is in great shape.


For video and pictures of what Fattal saw on this visit to the school, click here, to go to the full Sports Illustrated report.

"There’s no telling when students will be back on campus and in classrooms," Fattal writes. "It’s possible some athletic activity, like basketball and soccer practice can take place so those teams can play games, but the overall condition of the school is in good standing considering the apocalyptic images seen from this week’s wildfires in Los Angeles."


Posted by Geoff at 12:01 AM CST
Updated: Sunday, January 12, 2025 10:54 AM CST
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Friday, January 3, 2025
BOOK - 'CASUALTIES OF WAR - AN INVESTIGATION' - OUT NOW
NATHAN RERA'S FRENCH BOOK HAS BEEN TRANSLATED INTO ENGLISH, PUBLISHED BY STICKING PLACE BOOKS
https://www.angelfire.com/de/palma/bookcasualtiesnathan.jpg

Back in 2021, we posted regarding a nearly 600-page French book about Casualties Of War, written by Nathan Réra. Last week, Sticking Place Books published an English translation of Réra's book, titled, Casualties of War: An Investigation. Here's a description from the press release, with quotes from Julie Salamon and Adrian Martin:
Casualties of War, Brian De Palma's devastating and brilliant 1989 feature film starring Sean Penn and Michael J. Fox, tells the true story of the rape and murder of a young Vietnamese woman by a patrol of American soldiers. "When you leave the theatre," wrote Pauline Kael in her review, "you'll probably find that you're not ready to talk about it. You may also find it hard to talk lightly about anything." De Palma himself said: "It's a film I still have a hard time watching because it's so disturbing. It's one of the most horrific stories you can imagine."

Drawing on a wealth of rare material, including military archives, correspondence and unpublished screenplays, Nathan Réra revisits the 1969 book by Daniel Lang that documented the actual events, examines two films from the early 1970s inspired by Lang's work, and analyses a series of unproduced scripts written over a period of many years, before exploring in detail the making and reception of De Palma's film. More than just a production history, Réra's text delves into the aesthetic, ethical and political issues surrounding screen representations of the Vietnam War, and violence against women in the context of armed conflict.

This fascinating and unusual book uses Brian De Palma's unappreciated Vietnam masterpiece as a portal into the collision of history, journalism, politics and the moviemaking process. Nathan Réra brings academic rigor and a storytelling gift to this intriguing investigation into the long and painful transformation of a horrific incident into art.

- Julie Salamon, author of The Devil's Candy.

What began in admiration of Brian De Palma's remarkable film Casualties of War became an intrepid, rigorous investigation for Nathan Réra: a probe into the original, horrendous Vietnam War incident, the extraordinary, journalistic book it gave rise to, and the many attempts (realised or not) to bring this difficult, confronting material to the screen in all its complexity. Ending on a note of autobiographical revelation, this book delves deeply, emerging with an abundance of rich insights.

- Adrian Martin, author of Filmmakers Thinking.


Posted by Geoff at 10:01 PM CST
Updated: Tuesday, January 7, 2025 6:27 PM CST
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Thursday, January 2, 2025
NICOLAS CAGE ON WORKING WITH BRIAN DE PALMA
"HE'S A VERY INTUITIVE FILMMAKER"
https://www.angelfire.com/de/palma/snakeeyesset275.jpg

Hollywood Outbreak posted a 90-second audioclip today of Nicolas Cage talking about working with Brian De Palma on Snake Eyes. There is no information in the post regarding the context of the clip or when it was recorded (this week? years ago? who knows?), but here is a transcript:
He’s really equally devoted to both camera and his actors. He loves actors. So you get that sense that you can trust him. Because I was a huge fan of Brian’s, I felt like with this character, I could really go for it and take chances and get kind of wild, and that he would use the right takes. So I felt safe with him. I also think he’s a very intuitive filmmaker, in that he tests the range of his actors. In the first few days that we worked together, he would, you know, do a lot of takes and see what the range of my instrument was. And he knew, like, what takes I was better at, or how long I could go before I lost my concentration or had peaked. And I remember I was doing a scene with Carla Gugino in the stairwell, and it never really felt a hundred percent. But he said, “All right, we got it,” you know, and it was lunch, and all right, we’ll go and do the other scene. So I’m at lunch, and I’m thinking about the other scene. We came back from lunch, and he said we’re going to do that scene again. And it was quite brilliant, because then we did it, and it was all there – it just came together perfectly. And it occurred to me that that’s a very intuitive filmmaker, that’s so in sync with his actors, that he knows when they’re going to be firing properly.


Posted by Geoff at 11:06 PM CST
Updated: Thursday, January 2, 2025 11:10 PM CST
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Tuesday, December 31, 2024
HAPPY NEW YEAR



Posted by Geoff at 12:01 AM CST
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Sunday, December 22, 2024
ARROW 4K 'DRESSED TO KILL' LIMITED EDITION IN MARCH 2025
REGION-FREE, WITH SOME NEW SPECIAL FEATURES AND BOOKLET WITH WRITTEN ESSAYS
https://www.angelfire.com/de/palma/arrowdtk.jpg

Arrow Video has announced a Limited Edition 4k Ultra HD of Brian De Palma's Dressed To Kill, for release on March 3, 2025. Here are the details:
  • 4K ULTRA HD LIMITED EDITION CONTENTS
  • 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
  • Original lossless 1.0 mono soundtrack
  • Optional lossless 5.1 soundtrack
  • Optional English subtitles for the deaf and hard of hearing
  • Brand new audio commentary by critics Drusilla Adeline and Joshua Conkel
  • Audio commentary by critic Maitland McDonagh
  • Beyond Good and Evil, a brand new visual essay by critics BJ and Harmony Colangelo
  • The Empathy of Dressed to Kill, a brand new visual essay by critic Jessica Crets
  • Strictly Business, a 2022 interview with actress Nancy Allen
  • Killer Frames, a 2022 interview with associate producer/production manager Fred C. Caruso
  • An Imitation of Life, a 2022 interview with actor Keith Gordon
  • Archival interviews with actors Angie Dickinson, Nancy Allen and Keith Gordon, and producer George Litto
  • The Making of a Thriller, an archival documentary on the making of the film
  • Unrated, R-rated and TV-rated comparison featurette
  • Slashing Dressed to Kill, an archival featurette examining the changes made to avoid an X rating
  • Photo gallery
  • Theatrical trailer
  • Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx
  • Collector's booklet featuring new writing on the film by Sara Michelle Fetters, Alexandra Heller-Nicholas, Matthew Sorrento and Heather Wixson

  • Posted by Geoff at 3:24 PM CST
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    Monday, December 16, 2024
    SUSAN FINLEY & MORE - 'PHANTOM' 50TH AT AERO THURSDAY
    SARAH BALLANTINE & SAM PRESSMAN WILL JOIN Q&A w/ JUSTIN HUMPHREYS IN SANTA MONICA
    https://www.angelfire.com/de/palma/phantomparadiseballantine.jpg

    Justin Humphreys will moderate a Q&A this Thursday, December 19, following a 50th anniversary screening of Brian De Palma's Phantom Of The Paradise, at the Aero Theatre in Santa Monica, California. The on-stage Q&A will include Sara Ballantine, producer Ed Pressman’s son Sam Pressman and widow of actor William Finley, Susan Finley.

     


    Posted by Geoff at 11:54 PM CST
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