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Domino is
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straight-forward"
work that "pushes
us to reexamine our
relationship to images
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but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
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timing of the
final print."

Listen to
Donaggio's full score
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De Palma/Lehman
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next novel is Terry

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that have happened
in the news"

Supercut video
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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
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Thursday, February 12, 2015
CULT DIRECTOR INTERVIEWED PACINO IN 1993
ARTICLE IS INTERVIEW/REVIEW OF 'CARLITO'S WAY' - "TEDIOUS MELODRAMA"
Michael Cartel, whose 1982 movie, Runaway Nightmare, was remastered and released on Blu-ray last year, was not a fan of Brian De Palma's Carlito's Way when he interviewed Al Pacino upon the film's release. Cartel recently posted the 1993 interview/review on his Runaway Nightmare website. In the interview, Pacino tells Cartel that he read the Edwin Torres books "long before I did Scarface," and worked on the idea of a movie adaptation for years. Meanwhile, Cartel writes in the article that he was "miffed" that Pacino took on this project just after his Oscar win for Scent Of A Woman.

Elsewhere, Cartel asks Pacino what it is like to be a method actor and work within De Palma's complicated setups. "Suppose you were in a scene," Pacino responds, "and you have to do something and you go through this whole thing and you do it and then the camera had to go through it. So that can be a little nerve wracking from time to time. But you know, you get over it and understand these movies and you can see how they pay off... He [De Palma] did a shot... It was about a five-minute straight shot and he choreographed the whole thing. He set up for weeks just to choreograph it. And you wonder why he is doing it. You think, why doesn't he just shoot it in cuts? This is movie. Remember Griffith? He discovered the cut. You see the picture and you realize that sometimes those things really work because they put you in the movie in a certain way and you don't even know it. It works on your unconscious. I saw the movie and didn't realize that he didn't make one cut, five minutes... But when you don't know that's what is going on, when it is just happening, then I think it has served a purpose... I don't think he's showing off."

Cartel then states in the article that he disagrees, adding, "De Palma often calls attention to himself like some mad Roman emperor sitting atop a crab dolly." A bit later, Cartel discusses Sean Penn, writing that "Penn is the superb standout in this tedious melodrama." And Cartel shows disdain for the ending of the film: "David Koepp adapted the books into a script and swiftly got stuck for an ending. Producer Martin Bregman worked with Koepp for two years on this project and decided to tie up the denouement by having a mysterious character reappear and perform an unbelievable solution for the production company.

"Script analyzers for literary agencies are unpublished scriptwriters with jealous, heartless souls. But they do keep film stories with gaping holes from going further than their own desks. Apparently the messenger was shot in Bergman's office before she could escape with the bad script news."

While Cartel felt at the time that "Carlito certainly won't be Pacino's defining role," he predicted that "Sean Penn will garnish several awards for his performance in this film."


Posted by Geoff at 11:58 PM CST
Updated: Friday, February 13, 2015 12:20 AM CST
Post Comment | View Comments (2) | Permalink | Share This Post

Friday, February 13, 2015 - 3:04 AM CST

Name: "rado"
Home Page: http://rado.bg

That sudden character at the ending is the ghost of his past... it's been alluded to and even mentioned verbally in the film. He is right about Penn though.

 

Friday, February 13, 2015 - 4:24 PM CST

Name: "harry georgatos"

The best aspect to this film is the last 30 minutes that is choreographed beautifully of sustained tension and suspense. The nighttime boat sequence is handled well and the early sequence where Carlito's cousin gets his throat slashed is a standard out set-piece. The more reflective pieces of acting are extremely tedious and tested my patience. I think a lot of people at the time were expecting the explosive pulp nature of another SCARFACE! Instead De Palma made a personal reflective gangster film where Carlito could no longer see the angles.

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