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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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« May 2020 »
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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

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

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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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Directorama

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Came In From The Cold

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Greetings & Hi, Mom!

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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Fan Page

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Guillotine

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italkyoubored

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24 Frames Per Second

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So Why This Movie?

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Nothing Is Written

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This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

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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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Tuesday, May 26, 2020
THE RICHNESS OF CINEMA'S DREAM LANGUAGE - DTK
GUARDIAN CRITIC ERIK MORSE'S "FAVOURITE FILM AGED 12"
https://www.angelfire.com/de/palma/bobbifirst.jpg

Today at The Guardian, Erik Morse writes passionately about Brian De Palma's Dressed To Kill, as part of The Guardian series, "My favourite film aged 12." "Despite Dressed to Kill’s highly inappropriate content for a suburban child of 12," Morse explains, "I was instantly transfixed by a heavily edited version of the film that screened regularly on late-night TV." Here's an excerpt from Morse's essay:
Much more than the mature plot, however, Dressed to Kill’s kaleidoscopic atmosphere – its watery, soft-focus lens, garish colour palette and flashy, optical tricks such as slow-motion, mirrored surfaces, split screens and dioptres – was a feast for my languorous, pre-teen senses. On several occasions, I would wake up to catch the film at its midpoint or nod off before the ending, allowing the collage of images and music to splice into the edges of my sleep. The tense melodies of Pino Donaggio’s soundtrack and the likeness of an androgyne wielding a straight razor would soon become a Proustian madeleine from which countless reveries of my nocturnal childhood would unfold.

De Palma’s mastery of atmosphere was on no greater display than in the film’s early, museum set-piece – a 10-minute, dialogue-free sequence in which the director’s viewfinder glides around Dickinson’s character and through the Met’s galleries and corridors while she pursues, then is pursued, by a potential suitor. As the scene’s tension and pace builds, the labyrinthine interior assumes the contours of a De Chirico painting, or to my child’s eyes, the floating floorplan of a dream. Multiple viewings would reveal another surprise: a split-second cameo of the murderer embedded in the set dressing.

This scene, followed by another silent, slow-burn sequence that culminates in Miller’s grisly death in an elevator, proved to be an exhilarating initiation into the architecture of suspense. The lead character’s abrupt exit from the screen and the subsequent narrative switcheroo to Blake’s story also demonstrated how film could manipulate red herrings and false leads so that, more than mere plot devices, they appeared to me like celluloid apparitions captured in time. While the role reversals of the “good” doctor and “bad” hooker, and the multiple doubles in the film’s climax, hinted at cinema’s intimate bond to secret identities and masquerade.

These lavish visual and rhetorical sleights of hand fed into the richness of cinema’s dream language.

The film’s pleasures were not only abstract. Within the nests of set-pieces and dream sequences, De Palma’s images also produced a montage of New York City at the beginning of the 1980s, a place and an era that I recognised only from a distance. The elegant uptown and slummy downtown, insular high-rise and turbulent subway car, baroque interior and darkened streetscape. These landmarks helped to plot my own imaginary atlas years before I would move to the city as a university film student and discover its very different, millennial landscape.

To a suburban child with an appetite for suspense, De Palma’s masterpiece of urban atmosphere both terrified and enthralled, and inspired in me a lasting passion for genre cinema.


Posted by Geoff at 11:45 PM CDT
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