BEER & PIZZA NIGHTS, SOME FRIDAYS, SOME SATURDAYS, AT THE PRINCE CHARLES CINEMA
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a la Mod:
The film critic Vincent Canby, in an essay on production design for The New York Times in 1981, noted Mr. Sylbert’s chameleonlike ability to summon up entirely different visual worlds even within similar genres. For Brian De Palma’s suspense film “Blow Out,” he evoked Philadelphia in realistic terms, but the New York in the horror thriller “Wolfen,” released on the same day as “Blow Out” in 1981, was, Mr. Canby wrote, something entirely different.
“Mr. Sylbert’s Manhattan is a fantasy island under siege by some sort of superwolves,” he wrote. “Its South Bronx is dominated by the shell of a church that seems to have been blitzed during months of air raids.”
In his review of the film, Mr. Canby praised its “otherworldly look” and wrote, “Not since Nicolas Roeg’s “Don’t Look Now’ has there been such a beautifully mounted and designed scare movie.”
Mr. Sylbert received an Academy Award for his work on “Heaven Can Wait” and was nominated for a second Oscar for Barbra Streisand’s 1991 film “The Prince of Tides.” In 2009, the Art Directors Guild presented him with a lifetime achievement award.
This summer we inaugurated an ongoing collaboration with the International Center of Photography (now located in close proximity to Anthology, at 250 Bowery) with a film series inspired by the exhibition, PUBLIC, PRIVATE, SECRET. The ICP’s debut show in their new home explores the concept of privacy in today’s society and studies how contemporary self-identity is tied to public visibility. The film series expands on this idea by gathering a selection of films that engage the themes of voyeurism, surveillance, and privacy, and that demonstrate the various ways that media is used to fashion a sense of identity. Combining narrative films like De Palma’s BODY DOUBLE and Kieslowski’s A SHORT FILM ABOUT LOVE with experimental films, documentaries, and video art, the series demonstrates how central these ideas have been throughout the history of the cinema.
Perhaps it’s best to view the much-maligned Body Double not as a serious thriller, but as a deadpan comedy with thriller elements. So overtly derivative are the Hitchcock homages here that one can’t help but laugh at how ridiculously blatant De Palma’s being this time around. But the joke’s not just on us, but also on Jake Scully (Craig Wasson), with much of the first half playing as a lampoon of the struggling-actor hero’s professional, personal and sexual inadequacies. De Palma reserves his most amusing meta-movie conceits, though, for the second half, with Jake playacting a porn producer in order to get close to adult star Holly Body (Melanie Griffith), his descent into the hardcore-porn underground depicted as a hedonistic music video set to Frankie Goes to Hollywood’s “Relax.” In the end, it’s Jake’s own re-imagining of the film’s opening scene—his claustrophobia-induced failure while playing a vampire in a low-budget exploitation flick—that helps him finally achieve the potency he so desperately seeks throughout. With the film’s central mystery pretty easy to guess if you know Vertigo well, one is free to simply enjoy Body Double as an endlessly playful lark from a filmmaker interested in gratifying himself and daring us to watch.
An experimental theater film by Brian De Palma, Robert Fiore and Bruce Rubin; directed for the stage by Richard Schechner; portions of the text adapted from "The Bacchae" of Euripides as performed by The Performance Group. Schechner approached "The Bacchae" not so much to re-interpret the play as to re-experience some of the impulses surrounding and informing it—to which end Euripides's lines were sometimes useful, and sometimes not. Schechner's troupe, The Performance Group, would by turns chant, or dance, make love, plot murder, whisper to the audience, or among themselves hold group therapy sessions. With its full nudity, its audience-participation orgies and its range of theatrical invention, "Dionysus in 69" strives for a degree of sensuous presence. De Palma uses a split screen, and he uses it in a variety of ways. Both sides of the screen always record the same moment in the production. But sometimes they show different parts of the arena (the Performing Garage was a kind of multi-level theater in the round, with cast and audience often sharing spaces). Sometimes they develop different points of view toward a single action. Sometimes they place an apparently random event in formal perspective, and at the same time isolate important detail.
In 1989 Zeitgeist Theatre Experiments, inc (our original name) staged a large scale theatrical production at X ART GALLERY, at 333 Girod St. in the CBD (a cutting edge space run by the late-great Clinton Peltier, an early partner and patron of Zeitgeist and all things ahead of their time) of COMMUNE (aka White Exorcism), an environmental theater piece by Richard Schechner and the Performance Group. In Commune, actors and volunteers from the audience restaged the “Pattern of butcheries in American History from the point of view of the Manson Family as a justification of their actions”. One night we even got a pregnant biker chick in the audience to play Sharon Tate as the actors brutally killed her as she screamed for them to spare her babies life. Although the production was savaged in the local press, the production was a huge success and ran for three weeks.
Richard Dodds in the Times Picayune said “Call me a reactionary pig but…” and proceeded to attack the production “under the fascistoidal direction of Rene Broussard” claiming that cast members “soiled, stretched and scuffed his 180 loafers when they wore them on their filthy feet to reenact the murders”. So for the remainder of the production cast members wore tie-dyed t-shirts saying “Richard Dodds Is A Reactionary Pig”.
As a fundraiser for the production as well as to afford bringing in Richard Schechner for the opening of the play Richard loaned us 16mm prints of Dionysus in 69, Makbeth and Tooth Of Crime (three films of Performance Group productions filmed by then NYU student Brian DePalma). DIONYSUS in 69 was the very first film Zeitgeist ever screened. So please enjoy this very rare look back at Zeitgeist’ history.
The Times-Picayune's Mike Scott provides a nice set-up for next week's Zeitgeist program, with background information, in an article posted Saturday:
It started with a protest of sorts. Which, in this particular case, is fitting to the point of bordering on poetic.
It was 1986 and Rene Broussard, then a student at the University of New Orleans, was directing a stage production of the giddily depraved "Blood on the Cat's Neck." It was a production chock-a-block with sex, violence, necrophilia, human bondage and other such provocations that so tend to tickle and titillate undergrads.
Then, days before the first performance, the department head dropped in on one of the final dress rehearsals. He was neither tickled nor titillated. He was, however, provoked.
"He was shocked by the graphic violence and nudity and said, 'You can't do this at UNO!,'" Broussard recalls. "... And so the production got canceled and I ended up taking it off-campus and running it on Bourbon Street as a benefit for Artists Against AIDS. It ran for three weeks. That became the first Zeitgeist experiment."
Thirty years later, Broussard's Zeitgeist Multi-Disciplinary Arts Center is still going, and still working hard to provoke, regularly delivering or the promise of its guiding principle: "Something for and against everybody."
On Friday (Nov. 25), Zeitgeist will kick off a week of special programming marking its first three decades in operation. Highlights include Brian De Palma's "Dionysus in 69," which was the first film Zeitgeist ever screened; Broussard's own autobiographical triptych "The Fatboy Chronicles"; the music documentary "Liquid Land," which was filmed at Zeitgeist; and other selections intended both to highlight and celebrate the theater's history.
"Is Tom Ford a dilettante? Honestly, the jury’s still out. He gets committed work from his cast; even if Adams is arguably miscast in a coldhearted role (yes, she can do anything, but that doesn’t mean she should have to), Gyllenhaal expertly toggles between Straw Dogs meekness and madness, and Aaron Taylor-Johnson is the sexiest black hole of irredeemable evil in many a moon. And when Michael Shannon turns up as Bobby Andes, a lethal West Texas police detective, Ford guides the actor to one of his scariest and most controlled performances.
"Yet with Ford — and unlike Hitchcock (and, at his best, De Palma) — the mystery stays on the surface, caught in Seamus McGarvey’s clinically composed camera shots and Joan Sobel’s impeccably disorienting editing. The 'solution,' or the one that’s implied in the film’s final scene, feels small and incommensurate with the dark places the rest of the movie takes us, and it may occur to you that what concerns this filmmaker is the immediate effect rather than the lasting impression. I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on."
"Matching updates of two dynamic variants of mid-century noir (the gonzo woman's pictures of Otto Preminger with the psychological nocturnal westerns of Anthony Mann), Nocturnal Animals gets close to a double-barreled satirical thriller commenting on the historic rift between city and country. But for all his panache, Ford lacks the focus and control of someone like Brian De Palma, whose work, including his recent Passion, routinely straddles such disparate divides. Nocturnal Animals, meanwhile, wastes too much time fulfilling the nuts-and-bolts demands of both of its genre exercises to transcend their limits, while remaining too scattered and routine to actually work as a satisfying example of either.
"The film's best achievement remains its illustration of the supposed lewd, overflowing vitality of the lower classes butting up against the frigid primness of the upper, which then vampirically exploits this divide as part of a ritualistic cultural transfer. This process, by which the rustic, the seedy, and the menacing are drained of residual danger and reimagined in chic aesthetic forms, is one of the trademarks of both the fashion world from which Ford hails the high-end art scene in which Susan operates, the latter seen in that flamboyant opening show and the stylishly shabby pieces that litter her gallery. The film itself carries off a similar act of transference, repackaging grim, nasty authenticity as shiny pop product, even its ugliest revelations sugarcoated within correspondingly gorgeous images.
"Such a combination might have yielded marvelous results were Nocturnal Animals willing to get truly weird, but Ford instead remains too reliant on overwrought imagery, residual prestige affectations, and conventional rhythms to break free of either genre the film experiments with, leaving one section stuck as a second-rate Cormac McCarthy adaptation, the other a tamped-down Fassbinder tribute. Its ultimate message, that the stereotypical façades which front these two worlds only serve to disguise how much they have in common, ends up getting muddled rather than expressively conveyed, leaving Nocturnal Animals as a film that stands tantalizingly close to greatness."
"It has been seven years since Tom Ford added the job description of film director to his already famous fashion empire. That movie, A Single Man, was rightly acclaimed, and now with Nocturnal Animals he proves it was no fluke. Based on the 1993 novel Tony & Susan by Austin Wright, this adult thriller is a crazy mix of Alfred Hitchcock, David Lynch, Douglas Sirk, Brian De Palma, Stanley Kubrick and even a bit of Sam Peckinpah thrown in for good measure. But overall it is pure Ford, full of stylistic touches and fine acting."
"Ford is clearly a cinephile, and elements of other auteurs are all over Animals: the sexmad decadence of Brian De Palma, the formal control of Hitchcock, surreal dabs of David Lynch-ian grotesque. The movie’s lofty narrative ambitions never quite catch up with its aesthetics, but it’s still a fantastic beast of a film, intoxicating and strange."
Nocturnal Animals and Body Double
"My idea of a great piece is something along those lines—maybe fantasy. I love period movies. But, after doing this period movie, I would like to do something more inventive and people don’t tell you on what somebody wore 'cause you haven’t invented it in that world yet.
"It would be something like Blade Runner. Somebody like Ridley Scott, who likes to invent his own world. Or even somebody like Brian De Palma. Sometimes when you watch his movies, you feel like you’re in another world. I like to create your own reality.
"That would be fun right now for me."
Amy Roth's aunt, Ann Roth, has worked with De Palma on Dressed To Kill, Blow Out, and The Bonfire Of The Vanities.