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


« October 2022 »
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 31


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
Conversation, The
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
Edward R. Pressman
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
Genius of Love
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.
Jack Fisk
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
Sensuous Woman, The
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Stephen H Burum
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, October 1, 2022

Noah Baumbach's adaptation of Don DeLillo's White Noise won't be released until the end of December, but reviews have been coming out of film festivals in Venice and New York:

Rehna Azim, Movie Marker

Based on the 1985 novel by Don Delillo, White Noise is a far more ambitious film than director Noah Baumbach’s last effort, the popular 2019 drama Marriage Story. His influences, such as the American disaster movies of the 70s and 80s, the rom-com of that era, the family on vacation movies, as well as the high-octane thrillers of directors such as Brian De Palma, are all evident here in the tonal shifts, the technically assured and stylish look of the film, the flashy action scenes, the looming disaster of a toxic, chemical cloud, the large family bundled into a car and the verbal back and forth of the central married couple.

David Ehrlich, IndieWire
If the first act of “White Noise” feels like a work of expert-level pantomime, the similarly faithful second act somehow creates an energy all its own. Baumbach knows that DeLillo anticipated the likes of “The Matrix,” “The Truman Show,” and scads of other stories in which reality becomes a simulation of itself, but those aren’t the movies he wants to remind you of here. A crucial difference between the “White Noise” of 2022 and the “White Noise” of 1985 is that Baumbach has already seen the movies that DeLillo’s book helped to inspire, and that frees him to have some fun with this one.

As Jack, Babette, and the four younger members of their blended brood (a terrific group that also includes Raffey Cassidy and May Nivola) attempt to flee the airborne toxic effect, trying to suss out how safe they should feel amid the traffic jam of other families trying to do the same thing, Baumbach switches to a register that we’ve never seen from him before. Suddenly we’re in “War of the Worlds” territory, complete with oodles of Spielberg Face and a menacing awe so artful and evocative that it feels more like the real thing than a commentary on it. Something I never thought I’d write about a Baumbach film: The CGI is fantastic.

The evacuation sequences viscerally convey the appeal of disaster movies by clinging to a character who refuses to accept that he’s in one (at least at first), or to acknowledge that death can still find him in a large crowd. Baumbach’s visual language ensures that we have no such trouble. We’ve seen “Independence Day,” “Deep Impact,” and enough films of its ilk to recognize what a massive disaster supposedly looks like, but Jack — living in 1985 — doesn’t have the same frame of reference. To him, his situation doesn’t feel like a movie, and so he’s slow to recognize it as a disaster (a phenomenon illustrated in the brilliant shot of a black cloud swallowing the glow of a Shell logo just above Jack’s shoulder). We have the opposite problem, and it epitomizes why “White Noise” may be even more relevant today than it was 37 years ago: When we reckon with a disaster that seems too much like a movie, we struggle to accept that it’s real. As a character puts it in the book, and possibly also in this film: “For most people there are only two places in the world: Where they live and their TV set.”

Baumbach has an absolute field day with this dissonance; the closer his characters veer towards danger, the more that Baumbach exaggerates the movie-ness of their existence. A dramatic car chase is shot like a scene from an ’80s road trip comedy like “National Lampoon’s Vacation,” complete with a slow-motion shot of the family station flying through the air. A climactic showdown in a seedy motel — the end of the Dylar affair — drips with De Palma, all the way down to an unmissable split-diopter shot.

It’s a good thing the movie’s semiotic pleasures are so pronounced, because the book’s more basic charms don’t quite survive the trip to the big screen (let alone the ride home to Netflix). That third act gunplay is typical of an adaptation that’s always smart and on edge, but seldom involving enough beyond that. DeLillo’s writing gives readers the space to see their own existential terror reflected back at them in the funhouse mirror of Jack’s absurd circumstances, but Baumbach’s “White Noise” — more externalized by default — proves too arch for our emotions to penetrate.

Baumbach’s film is so determined to feel like “White Noise” that it ends up wearing the novel like a costume, a sensation epitomized by its lead performance. Driver is far too young to play the 51-year-old Jack (even if 38 was the 51 of 1985), though his middle-aged cosplay contributes to the general air of simulacra. More difficult to excuse is the actor’s struggle to sell the journey of Jack’s epiphanies. Driver is so naturally wild with life that he never quite musters the latent fear needed to fuel his character through the first act; it’s the same reason why the self-possession Jack finds in the third act feels less earned than it does inevitable. It’s a fitting anchor for an adaptation that gets everything so right that you might yearn for the friction that comes with getting it wrong, or at least the tension that comes from pulling away.

It’s no coincidence that the film’s most ecstatic moments — the first scene, the last scene, and the Spielbergian chaos that runs down the middle — are also the ones that most deviate from the book. Baumbach is ultimately too in sync with DeLillo for “White Noise” to escape from the shadow of its monolithic source material, as movie struggles to escape the hat on a hat sensation of that match between filmmaker and novelist, and often feels like the work of a third party who’s trying to imitate them both at once. All the same, you can still hear something almost subliminally divine under that uncanniness whenever Baumbach cranks up the volume. The sound of a beeping smoke alarm, perhaps.

Posted by Geoff at 11:34 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Sunday, October 2, 2022 - 4:11 AM CDT

Name: "Harry Georgatos "

This is definitely on my watchlist.

View Latest Entries