Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod


De Palma Discussion


Recent Headlines
a la Mod:

Domino is
a "disarmingly
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


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book


« September 2021 »
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags


The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

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 ал
Ambrose Chapel
Are Snakes Necessary?
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Dressed To Kill
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Happy Valley
Havana Film Fest
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
Oliver Stone
Paranormal Activity 2
Parties & Premieres
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Responsive Eye
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sean Penn
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Sweet Vengeance
Taxi Driver
The Tale
To Bridge This Gap
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Saturday, September 18, 2021

Yesterday, The Hollywood Reporter's John DeFore posted a review of Giuseppe Tornatore's Ennio, the Ennio Morricone documentary that had its world premiere at this year's Venice Film Festival. Here's a portion of the review:
Of all the filmmakers who owe debts to the great Ennio Morricone, surely few owe as much as Giuseppe Tornatore: 1988’s Cinema Paradiso was a crowd-pleaser for many reasons, but would’ve had a harder time becoming a global hit without Morricone’s romantic, nostalgic score. Tornatore worked with the composer many times after that first collaboration, and is well positioned to offer the career-capping Ennio, which arrives barely a year after Morricone’s death.

Happily, the film is more than a greatest-hits rundown (and at nearly three hours, it had better be): In addition to nuts-and-bolts musicology, it offers real engagement with a complicated character, endearingly stubborn and self-effacing, whose inventiveness changed both his chosen field (“absolute” music) and the one, film scoring, he entered only reluctantly.

The maestro sits onscreen for much of the film, alert behind his giant spectacles, telling stories about a career he’d intended to be entirely different — even after he gave up a boyhood ambition to be a doctor. (His father, a professional trumpeter, insisted that little Ennio should follow the same path.)

Morricone recalls the humiliation of playing for food during the occupation of Italy in World War II. His play-for-peanuts experiences may have left a visible mark, because when he entered a program to study composition, the young man was at first allowed to write only dance tunes. Morricone craved the approval of his mentor, the composer and teacher Goffredo Petrassi — he still remembers the grades he got on assignments — and he did make headway in the academic arena, eventually helping to form an avant-garde collective inspired by John Cage.

But he was always doing commercial work as well, staying up all night to crank out arrangements for TV shows that didn’t credit him by name. This led to arrangements for pop singers, and Tornatore shows us many enjoyable examples of what Morricone’s contemporaries are describing in interviews: Where previous arrangers simply wrote orchestral parts to follow a song’s chords, he was inventing something new, giving the orchestras much more to do, and adding elements no pop producer at the time would have imagined using, from tin cans to typewriters.

The film’s brief but delightful tour through these bing-bongy pop tunes, enriched by interviews with Italian stars like Gianni Morandi, suggests that a very enjoyable film (if one appealing to a more narrow audience) could be made on these years alone. But that’s not why we’re here, of course. It’s time to start whistling.

Morricone composed scores for two Westerns under a pseudonym, not wanting to be associated with the genre, before teaming up with Sergio Leone. (The two were surprised to realize they’d been classmates in elementary school.) The director took him to a Kurosawa picture to explain what he had in mind, and the rest is spaghetti.

The doc’s look at A Fistful of Dollars is the first of several places in which Morricone explains how he borrowed from his own work, repurposing an arrangement he’d done for a country song. His work on that movie is also a key example of his putting his foot down — though not the first, as we’ve already heard how he swore he’d quit his conservatory if they didn’t let him study under Petrassi. When Leone intended to use a Degüello from another movie in a key showdown scene, Morricone was so offended he threatened to quit. Leone backed down.

Morricone would lose some artistic conflicts, but it seems they were often occasions on which he underrated his own work. When he sent Brian De Palma nine ideas for a victory theme in The Untouchables, he told the director, “Please don’t choose number six.” But number six is in the movie, and it’s hard to imagine any music that would serve the scene better. He also initially refused to write music for The Mission, claiming that Roland Joffé’s images were so beautiful he could only make things worse. (Again, Ennio: Wrong.)

But for serious self-deprecation, you have to hear Morricone claim that he “hates melody.” Other composers interviewed here (tons of them, in the film world and outside it) are astonished at this idea, coming from someone who has created so many memorable melodies. But there are only so many ways tones can be ordered, and Morricone calmly says, “I think that we are out of melodic combinations.” Good thing he had so many other compositional tools to work with.

Posted by Geoff at 2:46 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Saturday, September 18, 2021 - 10:10 PM CDT

Name: "Rex"

Why isn't Femme Fatale available on Bluray anywhere? I know it was a box office disaster but at least it deserved a bluray release somewhere. Warner Bros must hate this movie 

View Latest Entries