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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
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I was not involved
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musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
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De Palma/Lehman
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in Snakes

De Palma/Lehman
next novel is Terry

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"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
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Monday, May 10, 2021
/FILM LOOKS BACK AT 'MISSION IMPOSSIBLE'
"AS MUCH A DE PALMA FILM AS A CRUISE FILM"
https://www.angelfire.com/de/palma/mipremieremag.jpg

"As much fun as the film continues to be," states /Film's Josh Spiegel states in his look back at Brian De Palma's Mission: Impossible, "its handling of Claire as…well, anything really, is its greatest miscue, and one that gets grosser with time, as in a moment near the end where Jim refers to his wife as 'the goods.'" Is this a weird FASHION OF THE DAY sort of criticism? "Gets grosser with time"?

A villain is a villain, and Jim Phelps is a particularly bitter and jealous one here. After quoting the Bible to Ethan Hunt, he (perhaps desperately) tries to dig it in that he purposely sent Claire to do the dirty work with Ethan. Whether Ethan is buying everything his mentor is trying to boast to him is another matter altogether. Calling it "gross" is perhaps this article's most questionable miscue.

Claire's involvement in the whole scheme is compellingly vague and mysterious, as she seems genuinely torn by competing impulses. Perhaps she's "living life at the gut level," with tragic consequences.

Aside from all that, an interesting look back at the film, I suppose. Here's an excerpt:

That’s the first 25 minutes of the tightly wound and constructed Mission: Impossible. But just as you might figure a film starring Tom Cruise – especially at this stage of his career – would really be about Tom Cruise, you might figure that a thriller directed by Brian de Palma has something up its sleeve. Just as it appears that the mission has gone off without a hitch, one by one, the members of the team are offed – by bomb, by knife, by strange sharp object descending from the top of an elevator. (Hasta lasagna, Emilio Estevez.) De Palma, the New Hollywood cohort of Coppola and Martin Scorsese (each of whom had directed Cruise a decade earlier), had long balanced his distinctive tendencies and influences, complex and often adult sensibilities, and mainstream success. So in the same vein as his being selected to direct the tense 1987 adaptation of another TV series, The Untouchables, De Palma got to try his hand at this one too, quickly making clear that the TV inspiration didn’t mean he wouldn’t make Mission: Impossible as much a De Palma film as a Cruise film.

So about 25 minutes into Mission: Impossible, the team of many turns into a team of one. The task at hand – recovering a list of undercover agents’ fake and real identities before the list gets into the hands of terrorist organizations around the globe – is completely ruined…until Ethan learns that the whole mission was a mole hunt to rifle out the sole survivor. The scene in which Ethan realizes he’s been set up as the IMF mole, and must go on the run to clear his name, is a perfect balance of Cruise’s sensibilities and De Palma’s. It’s a relatively simple back-and-forth, as supercilious CIA director Eugene Kittridge (Henry Czerny) lays out what seems like a pretty airtight case against our hero. But the dialogue, growing more suspenseful, is a buildup to a watery climax, as Ethan employs a useful gadget: a stick of gum that can be used as an explosive when smushed together, here detonating an explosion in a swanky Prague restaurant with aquariums aplenty so he can make his escape.

Some of the hallmarks of Brian De Palma’s work are absent from Mission: Impossible. It’s one of the least lurid films of his career, far less sexy (either intentionally or subtextually) in its depiction of a kinda/sorta love triangle between Jim, Ethan, and Jim’s wife Claire (Beart). As much fun as the film continues to be, its handling of Claire as…well, anything really, is its greatest miscue, and one that gets grosser with time, as in a moment near the end where Jim refers to his wife as “the goods.” But that scene with Ethan and Kittridge both visually and verbally, tracks with many of the helmer’s predilections. The true setup of the film, even as it favors Cruise, is a pitch-perfect way for De Palma to pay homage once again to Alfred Hitchcock; Ethan Hunt is the wrong man at the wrong place at the wrong time, accused of crimes he didn’t commit and forced to clear his name with increasing desperation. And the way De Palma films the scene is vintage, with the camera not only closing in on both Cruise’s and Czerny’s faces, but doing so via canted angle, as if the camera was placed at their feet, not over their shoulders.

Though Mission: Impossible is the rare PG-13-rated film in the director’s career (a few of his efforts, including Mission to Mars, were rated PG), the visual elements throughout the film mark this as a true De Palma effort. There are touches like the canted angles at the aquarium restaurant, split-diopter shots, and the constant use of disguises – not just a hallmark of the show, but of films like Phantom of the Paradise and Dressed to Kill. (And nowhere else in the franchise can you find the truly odd image of Tom Cruise in disguise as an old Southern-accented U.S. Senator arguing with political gadfly John McLaughlin.) And then, of course, there’s the centerpiece sequence of Mission: Impossible, in which Ethan, Claire and their new cohorts, Luther Stickell (Ving Rhames) and Franz Krieger (Jean Reno), break into the headquarters of the CIA to retrieve the real list of agent names and aliases right underneath the agency’s collective nose. That sequence takes place, as Ethan hisses while in an air vent, in “absolute silence.”

Each Mission: Impossible film has at least one truly indelible image in which Tom Cruise either re-cements his status as a movie star or tries to reshape it ever so slightly. There’s no doubt what that image is in the first film: it’s the sight of Ethan Hunt dropping spread-eagle to the floor of a highly secured CIA vault housing the aforementioned list of agent names. By holding out his arms and legs, it’s as if Ethan (by which it’s more accurate to say Cruise himself) can stop himself from hitting the ground by sheer force of will. Tom Cruise’s career is marked by images of him in movement, from sliding across the floor of his house in his skivvies to flying a fighter jet because he feels the need for speed. But Ethan’s ability to be relaxed and desperate all at once, in such a fraught situation, may be the most unforgettable image associated with the performer.

That piece of action goes hand in hand with Ethan’s explosive escape from the aquarium restaurant in establishing an important piece of the puzzle of this series: Tom Cruise doing his own stunts. On one hand, the stunts in this film don’t seem as death-defying as that of climbing up the side of the tallest building in the world or hanging on the wing of an in-flight airplane (as we will see in later films). But those stunts only became possible after Cruise dangled from a wire and literally saved his own hide by catching a bead of his sweat in a gloved hand. The sense of the thrilling is communicated here, as it is in the other films in the series, specifically because the audience is visually informed that an extremely famous person has put himself in harm’s way for entertainment.


Posted by Geoff at 12:01 AM CDT
Updated: Tuesday, May 11, 2021 5:25 PM CDT
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Tuesday, May 11, 2021 - 6:00 PM CDT

Name: "Harry Georgatos "

MI is in my top 5 DePalma films. The three way triangle seduction of Ethan was there in the opening scene that was taken out due to the bad test audience survey that went against the film. In the trailer Ethan and Claire passionently ambrace that was also excised from the final cut.

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