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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 2014 »
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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
Ambrose Chapel
Are Snakes Necessary?
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Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
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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
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
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Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
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Responsive Eye
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
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Snake Eyes
Sound Mixer
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Stephen H Burum
Sweet Vengeance
Taxi Driver
The Tale
To Bridge This Gap
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Tru Blu
Truth And Other Lies
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Sunday, October 19, 2014
Armond White, Out
on Justin Simien's Dear White People

"Turns out it’s passive, late-to-politics Lionel—the black gay dude—who represents Simien’s concerns. His evolution counters the old gay-until-graduation truism. Lionel sports a blooming Afro as significant as Dante DeBlasio’s. He’s awakened politically after his sex and writing life disappoint and once he discovers a Halloween party where the white students dress in blackface (based on those at Dartmouth, Penn State, and other campuses). This has a weak comic payoff (except for Coco’s counterintuitive costume choice), yet it brings out the desperation in Simien’s farce structure. Campus turmoil drives Simien’s suffering main characters a bit mad. Simien doesn’t critique them; his imperfect film shares the ideological confusion that has confounded all comedians during the Obama era—from the partisan satirists on Saturday Night Live to those Obama effigies Key & Peele on Comedy Central.

"Working post-Dave Chappelle, Simien presupposes a general racial awareness. Sam states Simien’s p.o.v. when she says 'Satire is the weapon of reason' and 'The job of the counterculture is to attack the mainstream.' Now that identity humor has become mainstream fodder, with subtle insistence on everyone’s assigned roles, Dear White People continues the assumption that everybody understands what gays, blacks, and women want. (A reality-TV subplot goes nowhere except offering the misinformation that '"re-enactment" is a documentary term.')

"Simien observes a lost generation of gays, blacks and women who forget what their protesting forbears fought for. (To wit: Sam frantically proclaims: 'It wasn’t speeches that turned the tide for civil rights, it was the anarchists that got the press'—a terrible reduction of history.) These 'post-racial' youth are shocked to discover there really is no such thing. This sad truth gives poignance to Dear White People's narrative mess...

"Simien’s satire isn’t as sharp as Joseph Kahn’s audacious Detention and it lacks the radicalism of Brian De Palma’s 1970 classic Hi, Mom! with its unforgettable 'Be Black Baby' mockery of white liberal fantasies. In the Obama era, comics have lost the ability to mock their own prejudices. Simien’s efforts cost him the depth of his four main characters—gay Lionel in particular. But I must admit: By movie’s end, Lionel’s confusion is more affecting than at the beginning."

Posted by Geoff at 1:51 AM CDT
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Saturday, October 18, 2014
Edge On The Net's Brian Shaer
on Alejandro G. Iñárritu's Birdman, or The Unexpected Virtue of Ignorance

"The film will be of particular interest to theater aficionados for its spectacular recreation of backstage at the St. James Theater on Broadway. Watching the film, with Iñárritu's gorgeous long takes and tracking shots that would make Brian De Palma salivate, one sort of has the feeling that he or she is in rehearsal with these folks and anticipating the curtain rising on opening night as much as they are. The milieu of Times Square and the Broadway theaters is essential in bringing this story its authenticity and in capturing the feel of a play in production."

Edgar Wright
"Go see 'Birdman' on the big screen ASAP. An astoundingly executed movie. Has a 'Phantom Of The Paradise' vibe, which from me is HIGH PRAISE."

Posted by Geoff at 11:54 AM CDT
Updated: Saturday, October 18, 2014 11:55 AM CDT
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Sorry for the late notice, but Brian De Palma's Phantom Of The Paradise is the midnight movie this weekend at the Del Mar Theatre in Santa Cruz, California. The film screened last night at midnight, and will play again at midnight tonight. The cost is only $6.50, and there are said to be prizes involved.

Meanwhile, tonight in Los Angeles, on the "lush west lawn of Hollyhock House," Barnsdall Art Park Foundation and Joe Dante’s Trailers From Hell present a screening of De Palma's Carrie on a high resolution screen, with a surprise guest on hand to introduce the film. Carrie is the final event of a five-film series called "School Nights." The other four films were School Of Rock, Election, Rock 'n' Roll High School, and Fast Times At Ridgemont High.

For $25 tonight, you get the movie and tasting (3 pours of beer or wine courtesy of Silverlake Wine). The movie-only tickets for Carrie, which went for $10 each, are sold out already. There is, however, free parking, and, according to the web site, "you are welcome to bring your own food, soft drinks, and a blanket; however, NO outside alcoholic beverages will be permitted. No dogs are allowed. Movies start at dusk on top of Los Feliz’s scenic Olive Hill. This fundraiser is a 21+ over event." According to the Barnsdall specific Carrie page, "All profits from the wine tastings benefit Barnsdall Art Park Foundation programs and projects, such as Free Sunday Art Classes for children and families in the community, as well as capital projects like the Monument Sign."

As posted yesterday, Carrie also screens at midnight tonight at the Landmark E Street Cinema in Washington, DC.

Posted by Geoff at 11:27 AM CDT
Updated: Saturday, October 18, 2014 12:48 PM CDT
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Friday, October 17, 2014
Christopher Cole has written a terrifically insightful piece at Clothes On Film about the clothes in Brian De Palma's Passion, with details and quotes from the film's costume designer, Karen Muller-Serreau. Cole is particularly interested in the power dynamics at play in the film. "Ice-blonde Christine is a Grace Kelly lookalike who craves attention," Cole states, "usually wearing the most noticeable colour in the room; the solid colours help her stand out without patterns to get in the way."

Here's an excerpt from the article:
Muller-Serreau says she wanted to give Rachel a “contemporary Hitchcockian feeling with shapes that have a modern vintage style in bold colours.” Christine begins the film in an ice-blue shirt and palazzo pants combo topped off by a blueberry-vanilla coloured scarf tied artfully around her neck, while Isabelle’s black dress shirt and pants pop against the white walls and light-coloured furniture of Christine’s house. She has to be dominant so she gives the scarf as a gift to Isabelle, wrapping the blueberry-vanilla scarf around Isabelle’s neck; it stands out against her black coat.

The following morning, Christine struts her stuff down the path in her front yard in a double-breasted blood-red overcoat that would scare the bejeezus out of Tippi Hedren in Hitchcock’s Marnie (1964); Christine looks like a spoilt little rich girl about to be chauffeured to private school. If Christine sometimes looks like a child playing dress-up, there’s a scene late in the film where she wears a striking black overcoat worn with a wide-brimmed hat, round sunglasses and teal stiletto sandals. It’s a coat that Muller-Serreau wanted to look like a little girl’s coat, so she based it on a classic child’s coat since Christine’s twin sister died in childhood.

Isabelle, the second-in-command, wears black for most of the film signalling her lack of identity. Since Muller-Serreau didn’t have colour to work with for Isabelle, she gave her shape and texture. There’s a suit jacket with heavy shoulder pads that hint at Joan Crawford in Mildred Pierce (1945) and a side-breasted military jacket she wears when she has the upper hand. Her Edith Head hairstyle, fringe and all, helps make her look like she stepped out of an old movie.

One particularly inspiring moment is when an angry, depressed Isabelle at an office reception wears a black dress shirt and pants with a black tie. Underneath the slightly sheer shirt is a black bra. She’s dressed in a stereotypical male outfit, but despite the butch quality of the outfit, she still wants to be desired sexually as a feminine woman. Muller-Serreau says Isabelle’s look was supposed to be a “uniform”, presenting Isabelle as a “soldier” — a soldier who wants to be seen as a sexy woman.

While Isabelle wears only one colour, her assistant Dani wears many colors, and is the only person who threatens Christine’s status as the most colourful person in the room. She often wears animal prints and sometimes pairs it with clashing horizontal stripes. Her costumes are meant to garner attention, like the denim daisy dukes she wears paired with tights and knee-high stiletto boots, and an asymmetrically zipped purple leather motorcycle jacket. However, she also achieves elegance in a violet lace shirt. It’s a look Muller Serreau describes as “feminine and sexy” and that it’s a departure from the “butch lesbian cliché.”

Dirk wears braces with his pinstripe suits and checkered suits; the braces hark back to a much earlier era. His costumes consist of all suits, except for when he wears a tank top in his bedroom post-coital. Lying on a bed, his thin frame is more evident here, making him appear more vulnerable. He confesses secrets while smoking in a cigarette, becoming more feminine in his gestures and voice: he seems to be imitating Christine when he tells Isabelle that the blueberry-vanilla scarf looks better on her. It’s a perfect example of how men are emasculated in this film, and how the characters are much different in private.


Posted by Geoff at 3:20 AM CDT
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Brian De Palma's Carrie is the midnight movie Friday and Saturday (October 17 & 18) at the Landmark E Street Cinema in Washington, DC.

Posted by Geoff at 2:10 AM CDT
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Thursday, October 16, 2014

Posted by Geoff at 8:24 PM CDT
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Wednesday, October 15, 2014
IndieWire's Thelma Adams spoke with Patricia Clarkson on stage last Friday at the Hamptons Film Festival. Clarkson discussed working with several directors, including Brian De Palma, Martin Scorsese, and Woody Allen. Here is the section from Adams' article about Clarkson working on her first feature film, The Untouchables:
Fresh out of the Yale School of Drama, the New Orleans native auditioned for the casting director Lynn Stalmaster to play the wife of Eliot Ness in The Untouchables. She was "kind of glamorous," with big 80's Southern hair, which "seriously could just fit in through the door" and a racy fuchsia dress.

The agent clued Clarkson in – and toned her down. Clarkson returned to meet DePalma in a borrowed "goony" gingham dress, dowdy tresses and no make-up. She explained, "I walked in and I made a joke about it with Brian and we just got on immediately. We started laughing about it. He ended up reading with me. He played Eliot Ness and I was cast almost in that room...On the set, the first day I shot, Brian did 30 takes to see where I fell, if I reached it early or reached it late. He learned I was early, and by the 30th take I'm just not here."


The IndieWire article also includes quotes from Clarkson on working with George Clooney and on Lisa Cholodenko's High Art.

Back in May of 2004, an interview article at the Washington Post (no longer available online without subscription) discussed Clarkson's voice, calling it "her most arresting feature." Described by the author as a "throaty" and "husky" voice that harkens back to the screen sirens of the 1930s and 1940s, Clarkson told how she would walk into auditions "blond, pretty, whatever. But then I'd open my voice and they'd say, 'Hmmm.'" The article then mentions De Palma as "one director who wasn't put off," casting Clarkson in The Untouchables. "I think he liked that I looked a certain way and I had this voice," Clarkson told the Post. "Brian is irreverent and brilliant and funny and I think he just kind of liked it."

Posted by Geoff at 12:57 AM CDT
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Tuesday, October 14, 2014
According to The Buffalo News, Brian De Palma's Phantom Of The Paradise will screen tonight (Tuesday) at 7pm at the Screening Room Cinema Cafe in Buffalo. Phantom will also play there this Friday, October 17th, at 9:15pm, just after a screening of Mel Brooks' Young Frankenstein. Both films are celebrating their 40th anniversaries this year.

Meanwhile, The Winnipeg Sun's Doug Lunney posted an article yesterday in anticipation of the upcoming anniversary celebration screenings at The Met on November 1st. Phantompalooza's Gloria Dignazio is quoted extensively in the article-- here's the first part of it:

It was 1975, I was 10 years old and for some reason I felt compelled to bring my Phantom of the Paradise album to school.

Most of my classmates at Angus McKay School brought theirs as well. Our teacher certainly didn't allow us to play it, but at breaks we would gather to read the lyrics, gawk at the soundtrack cover and discuss the movie.

Gloria Dignazio, like me, first saw the movie at the downtown Garrick Cinema.

"The album is fascinating to look at," said Dignazio, 51. "I remember drawing it in Grade 6 -- the pink, the neon and the lightning bolt.

"We brought it to school because it was so cool."


Posted by Geoff at 5:41 PM CDT
Updated: Wednesday, October 15, 2014 12:00 AM CDT
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Monday, October 13, 2014

Garry Marshall
Joe Mantello

Posted by Geoff at 8:46 PM CDT
Updated: Monday, October 13, 2014 8:52 PM CDT
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Sunday, October 12, 2014
Following up on his role as Twisty The Clown on this past week's season premiere of American Horror Story, The Star Tribune's Neal Justin profiled actor John Carroll Lynch the other day. Late in the article, Justin brings up HBO's currently-suspended production of Happy Valley, for which Lynch has been cast as Jerry Sandusky. Al Pacino will play Joe Paterno, and Brian De Palma will direct from a script by David McKenna. "Your guess is as good as mine,” Lynch tells Justin when asked if he thinks the movie will ever be made. “I believe it’s still alive. I think it’ll get done. It’s the perfect part for Al, and the script is excellent."

Posted by Geoff at 11:35 PM CDT
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