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De Palma a la Mod

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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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« June 2019 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

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Carrie...A Fan's Site

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No Harm In Charm

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a la Mod

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a la Mod

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and the Infield
Fly Rule

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Scarface: Make Way
For The Bad Guy

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(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

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Offices of Death Records

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italkyoubored

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EatSleepLiveFilm

No Time For
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The former
De Palma a la Mod
site

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.
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Sunday, June 9, 2019
PAULINE KAEL TRIBUTE AT BFI INCLUDES 'BLOW OUT'
CELEBRATING CENTENARY OF KAEL'S BIRTH THROUGHOUT MONTH OF JUNE
https://www.angelfire.com/de/palma/blowoutbeforeudie.jpgWe noted last week that the Quad Cinema in New York is running a Pauline Kael series through the month of June that includes Brian De Palma's The Fury (critic Charles Taylor will introduce that film's June 18 screening). Over in the U.K., the BFI is doing its own Pauline Kael series throughout June, featuring "works she championed by directors she admired." The series includes De Palma's Blow Out, which will screen June 13, 17, and 22. Also on the 17th, there will be a talk, "Film Criticism According to Pauline Kael," which will look at "the impact her reviews and opinions have on American film culture and the next generation of film writers."

Meanwhile, for whatever reason, The Independent newspaper out of the U.K. posted an article yesterday headlined, "42 films to see before you die, from The Apartment to Paris, Texas." Not sure why they chose 42, exactly, but the article was written by Helen O'Hara and Patrick Smith, who chose the films on the list. Including Blow Out on the list, Smith writes, "John Travolta’s Z-movie sound man, out recording one night, accidentally tapes what turns out to be a political assassination. Brian De Palma hit peak ingenuity and gut-punch profundity with this stunning conspiracy thriller, mounted with a showman’s élan but also harrowing emotional voltage from its star. It’s one of the most delirious thrillers of the 1980s, with a bitterly ironic pay-off that’s played for keeps."

Back in 1981, Kael herself wrote in of the freshly-released Blow Out in The New Yorker:

If you know De Palma’s movies, you have seen earlier sketches of many of the characters and scenes here, but they served more limited—often satirical—purposes. Blow Out isn’t a comedy or a film of the macabre; it involves the assassination of the most popular candidate for the presidency, so it might be called a political thriller, but it isn’t really a genre film. For the first time, De Palma goes inside his central character—Travolta as Jack, a sound effects specialist. And he stays inside. He has become so proficient in the techniques of suspense that he can use what he knows more expressively. You don’t see set pieces in Blow Out—it flows, and everything that happens seems to go right to your head. It’s hallucinatory, and it has a dreamlike clarity and inevitability, but you’ll never make the mistake of thinking that it’s only a dream. Compared with Blow Out, even the good pictures that have opened this year look dowdy. I think De Palma has sprung to the place that Altman achieved with films such as McCabe & Mrs. Miller and Nashville and that Coppola reached with the two Godfather movies—that is, to the place where genre is transcended and what we’re moved by is an artist’s vision. And Travolta, who appeared to have lost his way after Saturday Night Fever, makes his own leap—right back to the top, where he belongs. Playing an adult (his first), and an intelligent one, he has a vibrating physical sensitivity like that of the very young Brando.

Posted by Geoff at 11:31 PM CDT
Post Comment | View Comments (4) | Permalink | Share This Post

Monday, June 10, 2019 - 1:25 PM CDT

Name: "Mustafa"

You see Goeff, this is exactly why i cannot say about Domino that it is a great movie, or a very good De Palma movie, because if I did, i would be taking the greatness out of his Godly achievements like Blow Out, Dressed, Carlito, etc. 

Saying that Domino is excellent or even very good, means that all the times I considered his previous movies such, it was a hyperbole! 

For me, Domino is a badly put movie that has brilliant moments amidst really bad and shameful ones.

Monday, June 10, 2019 - 5:19 PM CDT

Name: "Geoff"
Home Page: https://www.angelfire.com/de/palma/blog

Of course, yes-- Domino is no Blow Out, no Carlito's Way, to be sure.

Monday, June 10, 2019 - 5:53 PM CDT

Name: "Harry Georgatos"

What interested me about DOMINO then soap operish aspect to the Danish cops lives was the terrorists staging terrorism and recording the violence for the internet. The act of manipulating images for propaganda. I wish De Palma explored that angle more to the story then the cliche cop revenge narrative that belongs straight to DVD narrative. I still think after watching DOMINO again last night that the score could have been more immersive.

What I will always remember about BLOW OUT is the way Travolta created image to sound of the car having it's tire blown out as it crashes into the lake. That whole section of the film was absorbing and immersive. With DOMINO I really can't say the same. The rooftop set-piece was pure Hitchcock. Homage to VERTIGO and TO CATCH A THIEF. My favourite section to DOMINO was the short and brief Film Festival massacre that had no build up of suspense but went straight into the shooting and violence. And the Spanish bullring saved the film for me with most of the stuff in between seemed rudimentary.

Also the commentary of the CIA getting imbeded with terrorists to take down terrorist was a commentary that could have been expanded more in the film. BLOW OUT is a masterpiece where DOMINO is serviceable denying the filmmaker one last masterpiece.

I hope De Palma will make one last great film and doesn't finish with DOMINO. 

Monday, June 10, 2019 - 11:01 PM CDT

Name: "neil"

Sweet Vengeance is still in pre-production so I have my fingers crossed with this film project. 

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