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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
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

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« August 2020 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


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No Harm In Charm

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and the Infield
Fly Rule

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Directorama

The Filmmaker Who
Came In From The Cold

Jim Emerson on
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Scarface: Make Way
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The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
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italkyoubored

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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.
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Sunday, August 30, 2020
'NEW HEIGHTS OF DELIRIUM' - STREAMING 'FEMME FATALE'
AS IT HITS AMAZON PRIME, REVIEW BRIEFS FROM VERONIKA FERDMAN & JAKE WILSON
https://www.angelfire.com/de/palma/sleepercellscrop.jpg

Brian De Palma's Femme Fatale is now streaming on Amazon Prime, with several articles including the film on streaming recommendations lists. At The Sydney Morning Herald, Jake Wilson writes:
Brian de Palma achieved new heights of delirium in this avant-garde 2002 thriller with Rebecca Romijn-Stamos in the dual role of a sexy American jewel thief and her French doppelganger (or are they, somehow, one and the same?). Antonio Banderas co-stars as a photographer whose function, typically for a De Palma hero, is to bear witness.

And over at The Film Stage, the first paragraph of Veronika Ferdman's 2016 "Summer of De Palma" entry is included in its "New to Streaming" guide this week:
Femme Fatale is a bubbling cocktail of Double Indemnity meets To Catch a Thief meets Vertigo meets The Double Life of Véronique that kicks you in the head real good right at the first sip and is so smooth going down that, by the time you notice you’re drunk, it’s too late to care, and there goes willowy Rebecca Romijn, a nesting doll shedding an archetype. The opening twenty minutes, a jewel theft set at the 1999 Cannes premiere of East/West, are what one might call “pure cinema” — which is to say they are series of hyperkinetic moments strung together through the rhythms of music and editing that could not be captured by any medium other than cinema, or any other filmmaker other than Brian De Palma.

Romijn plays Laure, a master thief who steals a beautiful piece of jewelry (which serves as an elaborate snake-like top, with diamonds covering the nipples) from Veronica (Rie Rasmussen) during a steamy bathroom scene while everyone at Cannes — save some frazzled body / jewel guards who are growing increasingly agitated by the length of Veronica’s powder room visit — are paying attention to the premiere of East/West. Laure then betrays her fellow thieves and has to go into hiding, lest those she double-crossed decide to take revenge — which, of course, they do. Luckily for her, it turns out Laure has a suicidal brunette doppelgänger, Lily, whose identity she assumes after Lily takes her own life. Laure-as-Lily goes to the United States and has a meet-cute on the plane with Watts (Peter Coyote), who eventually becomes the American ambassador to France, bringing Lily back into the country she last inhabited as Laure.

Laure’s return to France is Nicolas’ (Antonio Banderas) cue to enter the story as a photographer. Nicolas has been contracted to take a photo of the camera-shy ambassador’s wife and whose happenstance involvement in the capturing of an image — much like John Travolta’s just happening to have been at the wrong place at the right time to capture a sound in Blow Out — sucks him into a rather unsavory mess and Laure/Lily’s gradual transmutation of identity. The photographic image is extremely potent in Femme Fatale as sound is likewise in Blow Out; De Palma loves to imbue cinema’s essential elements with striking gravitas.

To give away more of the plot would be cruel and take away from the wicked, velvety pleasure of observing this film’s sinewy twists. To step away from the specifics of the film itself, it is worth making note of the context of its existence within De Palma’s ’00s career. De Palma made four films in that decade: Mission to Mars (2000), Femme Fatale (2002), The Black Dahlia (2006) and Redacted (2007). As disparate as these works are, the gradual evolution of the worldview expressed from one to the other makes for a stingingly accurate portrait of what it was like to be living in the United States in the early 21st century. From the curiosity and hopefulness of Mission to Mars to the growing cynicism of Femme Fatale, whose last few minutes save the film from dissolving in a pool of acid it has spent nearly 2 hours neatly collecting. And then there’s the sordid messy madness of The Black Dahila, which gives way to the ultimate human abasement and malignancy shown in Redacted, which is so dire in its bleakness it’s a wonder De Palma didn’t just turn his back on the world after making it.


Posted by Geoff at 6:55 PM CDT
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Saturday, August 29, 2020
SPORTS REPORTER WATCHES 'BLOW OUT' FOR 1ST TIME
RYAN KOHN'S BINGE BLOG RECOMMENDATION: "YOU REALLY NEED TO WATCH BLOW OUT"
https://www.angelfire.com/de/palma/bingeblog.jpgIn this week's Binge Blog, Ryan Kohn writes about how he discovered Blow Out, which he notes is now streaming on Amazon Prime Video:
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In theory, I understand why people don't talk about "Blow Out" when discussing Brian De Palma films. 

It wasn't a huge hit, only pulling in $12 million at the box office despite starring a young John Travolta, who was coming off a hit with "Urban Cowboy." That was nothing compared to other De Palma films like "Scarface" ($66 million) "Carrie" ($34 million) and the mega-smash that was "Mission: Impossible" ($457 million). 

I had never heard of the film until going on a Letterboxd deep dive a few weeks ago. Once I read the description (and some glowing reviews from critics I trust), I knew I had to see it, and guess what: I was right. "Blow Out" rules. 

It's a conspiracy movie on the surface. Travolta plays Jack Terry, a sound engineer working on B-grade horror flicks in Philadelphia. One night while Terry is out gathering ambient sound in a park, his equipment picks up the audio of a car's tire exploding. He then sees the car driving off the road and into a river. He dives into the river and is able to drag a young woman out of the car but not the man sitting with her. That man turns out to be a presidential hopeful, and the woman with him was not his wife. 

The candidate's assistant tries to convince Terry not to say anything about the accident; his family is going through enough, no reason to tell them he was having an affair, right? Well, Terry can't quite drop it. Something about the audio of the accident didn't sit right with him. He checks his tapes. Sure enough, he hears two explosions, not one. This leads him to one conclusion: The tire didn't blow out; it was shot. Someone wanted that car to crash.

The rest of the movie follows Terry's journey into the depths of this conspiracy as he tries to convince people in power of his theory, going as far as creating his own movie of the events, syncing the audio he captured with stills a photographer (Dennis Franz) took of the accident. At the same time, he's watching the back of Sally (Nancy Allen), the woman he saved from the water, who might know more about the case than she lets on. 

The film feels timely with all the misinformation floating around the internet these days, much of it spread by people in power. It also is a showcase for the power of filmmaking and the freedom that comes with producing art that calls out those people in power. Sometimes, that's the only way you can get people to listen. 

"Blow Out" also gets points for the following, which is all subjective, I admit: 

  • Characters say the name of the movie like 25 times, which is the sign of a great movie (to me). 
  • De Palma's camera work is out-of-this-world good. The decision to use a scene from one of the movies Terry is editing as a cold open — a killer is stalking college girls from outside their windows — and then proceeding to constantly use shots looking through windows during the rest of the film is brilliant. And there's a shot involving fireworks toward the end of the movie is nothing short of sublime. You'll know it when you see it. My jaw dropped. 
  • Speaking of the ending, the last 15 minutes of this thing take it from good to outstanding. I don't know exactly what I expected, but it certainly wasn't what De Palma delivers. Haunting and emotionally fulfilling in equal measure while taking the movie full circle. The final scene is an all-timer.  
  • John Lithgow is the third lead in this movie. He plays a man so loathsome he might as well be a slug. It's great. 
  • Travolta rules in this movie! Not in an "I'm a movie star, look at me look cool!" way, either. He rules in an "I'm a compelling force, and I will make you feel what I'm feeling" way. 

You really need to watch "Blow Out."


Posted by Geoff at 6:17 PM CDT
Updated: Saturday, August 29, 2020 6:22 PM CDT
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Friday, August 28, 2020
CAESAR CORDOVA HAS DIED AT 84
HE WAS THE COOK AT EL PARAISO IN 'SCARFACE', THE BARBER IN 'CARLITO'S WAY'
https://www.angelfire.com/de/palma/cordovapacino.jpg

Caesar Cordova died of natural causes Wednesday in Atlantic City, according to Variety's Pat Saperstein. He was 84.

Cordova, who was born in Puerto Rico and raised in New York, had a long association with Al Pacino, the two having worked on stage together in Does a Tiger Wear a Necktie? "The play marked the Broadway debut of the little-known Pacino," notes Deadline's Greg Evans.

A little more than a decade later, the pair appeared together on film in Brian De Palma's Scarface, in which Cordova played the cook at El Paraiso, a Cuban sandwich stand directly across the street from the high-class Little Havana Restaurante. Another ten years later, Cordova appeared with Pacino once again as he played the barber in De Palma's Carlito's Way.

Cordova's first film role came at the age of 19, during time off from the U.S. Air Force. Having been stationed in Germany during the Korean War, Cordova was granted a 30-day leave of absence, during which he went back to New York and managed to get a small part in Richard Brooks' Blackboard Jungle. Cordova also had roles in Don Siegel's Crime In The Streets, Art Linson's Where The Buffalo Roam, Ivan Passer's Cutter's Way, and Bruce Malmuth's Nighthawks, among many others.


Posted by Geoff at 8:09 PM CDT
Updated: Wednesday, September 30, 2020 12:28 AM CDT
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Thursday, August 27, 2020
ALMOST PARADISE
AN ENTRANCE, AN EXIT, AND A PLACE IN BETWEEN
https://www.angelfire.com/de/palma/swandoor75a.jpg

 

 

 


Posted by Geoff at 12:01 AM CDT
Updated: Friday, August 28, 2020 6:02 PM CDT
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Wednesday, August 26, 2020
'TWISTS GENRES TO CATCH MOMENTS OF REALNESS'
JOSEPH HOULIHAN REVIEWS 'ARE SNAKES NECESSARY?'
https://www.angelfire.com/de/palma/snakescrop.jpgAt Rain Taxi, Joseph Houlihan reviews Brian De Palma and Susan Lehman's novel, Are Snakes Necessary?...
De Palma has always been an obsessive stylist. His cinema pulls viewers through intricate long takes and plot machinations with a classical understanding of suspense. And he's always been fascinated with pulp fiction. Are Snakes Necessary? is pure pulp, with the trappings of political thriller. It's stupid, and as with some of the bad novels of Bret Easton Ellis, stupid is the message.

Are Snakes Necessary? follows the story of a fixer working for a womanizing Senator. There are plenty of clichés, with snarling casino magnates and icy blondes, and more than a few De Palma flourishes as well, such as a photographer sniffing out intrigue on the set of a remake of Vertigo. The style is bare, taking on some of the cadence of The West Wing or a Tom Clancy thriller, but there are also certain strange additions, including a subplot with a rural “Dear Abby” character.

De Palma is often mistakenly criticized for the content of his films: a film about pornography is called pornographic, a movie about rape during the Vietnam War is called misogynistic. Most recently De Palma made a film about the manufactured idea of international terrorism, and it was drubbed as anti-Muslim. Generally, it's been said that he suffers from the curse of people liking his movies for the wrong reasons—Scarface, a film about the shortcomings of the American dream more than a gangster flick, being the obvious example—and surely some people dislike his films for the wrong reasons as well.

Are Snakes Necessary? is obviously a silly experiment in pulp fantasia, and yet there are some indelible images, almost like the intricate set pieces of any De Palma film, that are breathtaking. This is part of the paradox of De Palma's enduring brilliance: He uses the language of trash to talk about trash, and finds an erotic excitement in the transgression, because sometimes it's necessary to roll that shit around in your mouth.

Likewise, De Palma twists genres to catch moments of realness. He deconstructs war pictures in Casualties of War, for example, about the kidnapping and rape of a young woman by American troops in Vietnam. He later revisited this material in Redacted; both pictures reject American militarism, and highlight the violence and venality of military occupation.

The realness of Are Snakes Necessary? comes out in overwhelming cynicism. As more “my years at the White House” books emerge from the past two administrations, it only becomes clearer how self-serious the public workers of the executive branch hold themselves to be—and that this self-seriousness, this acting, is also a violence wrought upon the public.

While De Palma has proven to be capable of epic work in cinema, Are Snakes Necessary? is not exactly another symphony—it's an exercise, a late quartet. But it's quick, and it’s fun. So don't take it too seriously.


Posted by Geoff at 11:49 PM CDT
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Sunday, August 23, 2020
FILMMAKER MATT SPICER'S 'BLOW OUT' COMMENTARY
WRITER/DIRECTOR OF 'INGRID GOES WEST' RECORDED FEATURE-LENGTH TRACK FOR 'THE SIDE TRACK' PODCAST
https://www.angelfire.com/de/palma/blowoutsidetrack.jpg

The Side Track is a new podcast run by Paul Davidson. In each episode, either Davidson, or an invited guest, provides a feature-length audio commentary on a movie that they are very passionate about. The tagline: "Their obsession. Their words. Someone else's movie."

For an episode posted a week ago, Matt Spicer, writer/director of Ingrid Goes West, recorded a commentary for Brian De Palma's Blow Out. In the episode's introduction, Spicer explains to Davidson how, when Spicer was 13 years old, his family would sometimes get the free trial of HBO. And whenever that happened, he would stay up late and watch the late night movies.

"And that's how I saw some of my favorite movies for the first time," Spicer tells Davidson. "I saw Boogie Nights for the first time on HBO late at night. So, like, obviously all the best movies, too, were on after midnight. You know, they would play the really salacious stuff. So of course, as a teenager, that's the stuff that you want to watch. And Blow Out was one of those movies. And I remember, it was just one of those perfect things where, like, it's so rare, too, when, back then, you'd be flipping through the channels and you'd hit right as the movie was starting, you know, and so you usually jump in. And the opening scene of Blow Out is... I mean, can you imagine, truly, an opening scene more captivating to like, a 13-year-old boy, than this movie? I mean, it was just literally like, I think, I was just like, I'm definitely watching this whole movie. But, like, I was lured in by this sort of, you know, salacious slasher movie with a bunch of nudity or whatever. But there's this really, like, intense, expertly-made genre thriller, paranoid thriller attached to it. And that whopper of an ending that's just like... And so I think I just went on this full ride. And this was, you know, my film education, I hadn't really decided that I wanted to be a filmmaker at this point. It was just a really cool movie that I... saw. And that had always stuck with me. And I don't know even know if I remembered the title of it. And then I remember in college, it coming up as a potential movie that I could do an essay on. And I was just like, 'Oh, my God, that's the movie that I saw. I love this movie. I want to write about that.' And so I watched it a bunch and wrote about it for this essay."


Posted by Geoff at 7:59 PM CDT
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Friday, August 21, 2020
MELODY THOMAS SCOTT ON DE PALMA & 'THE FURY'
"BRIAN WAS VERY MUCH A 'THROW THE SCRIPT DOWN AND LET'S IMPROV' KIND OF DIRECTOR"
https://www.angelfire.com/de/palma/brianmelodyrayamy.jpg

In her new memoir, Always Young And Restless, Melody Thomas Scott includes a chapter about her time working on Brian De Palma's The Fury, in which she played Gillian's best friend LaRue. Who can forget the film's introduction to the two best friends as they make their way along a Chicago beach and we get a taste of Gillian's psychic ability courtesy of a psychic stalker played by William Finley. A behind-the-scenes photograph from that beach (above) is included in Melody's book (pictured from left to right: Brian De Palma, Melody Thomas Scott, script supervisor Ray Quiroz, and Amy irving).

In the book, Melody Thomas Scott recalls her work as a child actor and young adult, leading up to her role in The Fury and beyond. At 8 years old, she was directed by Alfred Hitchcock, cast as the young version of Marnie in Marnie (1964). "Days with Hitchcock were long and arduous," she writes, "partly because, unlike any director I've ever worked with since, he would take excessive effort to literally push us into position."

In 1971, she worked with Clint Eastwood on Don Siegel's The Beguiled. "Clint would greet us girls each day with a gentle kiss on the cheek. He was such a gentleman." She went on to have a small part as the kidnapped girl in Siegel and Eastwood's Dirty Harry.

And although Melody never once mentions Kirk Douglas in her chapter on The Fury, she has a chapter about being called to an interview at an office in Beverly Hills, where Douglas himself, after braiding her hair, cast her on the spot in a new western he was directing, Posse (1975). "The next thing I knew, he started braiding my hair," she writes in the memoir. "I know this sort of thing would never happen in today's culture but I can assure you, it was completely innocent. Kirk Douglas braided my hair."

After the filming of a scene with John Wayne in what would turn out to be his final film, The Shootist (and again with Don Siegel directing), and then angering John Landis by refusing to agree to do a topless scene in National Lampoon's Animal House ("He says he never wants to see you in his casting office again," Melody's agent told her, followed by "And you'll never be cast in any of his films-- end quote"), the book turns to the De Palma project:

It was June 1977, and I had an interview at 20th Century Fox with Brian De Palma, the director for Mission: Impossible, Carlito's Way, The Untouchables, Scarface, and many more. Of course, back in the late seventies, Brian was mostly known for directing Carrie, the [Stephen] King book-to-film adaptation that changed the world of horror films forever. It featured Sissy Spacek and a giant bucket of pigs' blood.

Pigs' blood aside, my very first interview was with Brian himself and Amy Irving, the star of the movie. Brian was very much a "throw the script down and let's improv" kind of director, which suited me fine. Plus Brian seemed to take a liking to me right away, which also suited me fine. When he asked me to stay to read with some of the girls auditioning for other roles, I happily agreed.

I should be honest. I hadn't seen the movie Carrie, so I didn't know who Amy Irving even was. Not that it would have made much of a difference anyway. I had the sort of personality where it didn't matter who you were, I was going to be unfiltered and friendly regardless.

"So do you have a boyfriend?" I remember asking Amy during one of our audition breaks.

"I do," she said.

"Oh really? What does he do?"

"Mmm... He's a director," she said.

"Oh, really? What's he directed?" I asked nonchalantly, as if gabbing with a friend from school.

I could feel her unwillingness to answer my nosy question. She murmured quietly, "...Jaws."

Jaws? I certainly knew who Steven Spielberg was. This girl must be somebody special, I remember thinking. She's dating one of the most famous directors in the world! She would, of course, go on to marry Steven Spielberg, but that, I'm afraid, is not my story to tell.

I ended up being cast in The Fury as LaRue, best friend to Amy's Gillian Bellaver. Amy and I became fast friends during our time filming in Chicago. Or maybe she just couldn't fling me off! I stuck to her like glue, mesmerized by all that she was. Amy was sophisticated, savvy, world-traveled. Her father was a famous theater director and producer and her mother a well-known actress. Her best friend was Carrie Fisher. She traveled in circles not only with Steven Spielberg, but also Harrison Ford, George Lucas... I mean, Laurence Olivier was one of her family friends. To say she was out of my league would be a gross understatement.

In addition to forming a bond with Amy, the entire cast and crew became quite close. We'd play poker in the evenings up in Executive Producer Frank Yablans's penthouse suite where "everybody" was doing everything. I hate to dismiss the drug scene with a casual oh, but it was just the times. But... it was the times! Still, I had never experienced this scene face to face in my youth and here it was, presented to me for the first time. Not to sound like a goody two shoes, because I'm no angel, but I never did join in on that particular part of our cast bonding. No judgment for those who chose to go under the influence of drugs, though. I simply never trusted what drugs would do to me.

For more innocent fun, we could always count on John Cassavetes, who seemed to know Chicago like the back of his hand. He was always surprising us with impromptu dinners at amazing Italian restaurants. But there's one outing he treated us to that's hard even for me to believe all these years later, and i was there!

The King Tut exhibit was at Chicago's Field Museum at that time. Between our shooting schedule and the long lines at the museum, there was no way that any of us would be able to take a quick peek at King Tut. But it was a huge tour and the whole city was talking about it, and we desperately wanted to go.

One night-- I believe it was a Saturday-- Cassavetes treated us to yet another meal at an award-winning Italian restaurant. But our dinner was much later than usual, and we didn't leave the restaurant until around 11:30 p.m. After climbing into our waiting studio vans, our drives followed strict instructions on where to take us next. We were not going back to the Continental Plaza Hotel yet.

To this day I don't know how he did it, but Cassavetes had made arrangements with who knows how many museum contacts and employees. At midnight, our vans pulled up to a back entrance at the Field Museum; we got out, having been prepped in the vans to keep our voices down and do exactly as we were told. Abracadabra, and poof! We were taken into a private back hallway of the museum. Hocus pocus, and poof! We were ushered into its great public rooms by silent security guards. The next step was a bit trickier, as we had to bend down and jump over invisible alarm beams. I know! Seems preposterous, entirely made up, like something out of a spy movie-- but I was there. We did indeed see the King Tut exhibit that night, and afterwards were whisked into our waiting vans as secretly as we had arrived, then on to our hotel. Another unbelievable evening courtesy of John Cassavetes! It was certainly one of my most memorable filming experiences.

The film was coming to an end and we all worked hard to finish the location scenes in Chicago, including a sequence shot at a real high school where actual students were cast as extras. One of those extras was a young girl named Daryl Hannah. She wasn't known at the time, but years later I thought, my goodness! That's the girl who played one of the extras at the girl's school. Watch the film very closely and I bet you can spot her!

As is often the case, my friendship with Amy came to an end as soon as the shoot did. But the thrill of working with Brian De Palma became one of the highlights of my career. Boy, what a talented director. He is such a master collaborator that he manages to not only make all cast and crew comfortable, but compels them to bring their absolute best to the table, in order to assist him in his ultimate vision. Not an easy feat to pull off. I was disappointed that The Fury didn't do very well with the critics or the box office. But I wouldn't have given up this wonderful experience for all the gold in the King Tut exhibit!


Posted by Geoff at 10:00 PM CDT
Updated: Friday, August 21, 2020 10:11 PM CDT
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Saturday, August 15, 2020
DATE NIGHT MOVIE PODCAST LOOKS AT 'UNTOUCHABLES'
AND 'LOST IN TRANSLATION' COLUMN LOOKS AT THE FILM'S HISTORICAL ACCURACY
https://www.angelfire.com/de/palma/untouchablesgroupshot.jpg

Another husband and wife movie podcast? You got it-- the latest episode of the Date Night Movie Podcast has hosts Ashley and Patrick Russell discussing two films: Brian De Palma's The Untouchables, and the recent Josh Trank film, Capone. The episode runs just under 30-minutes in length, and after discussion of each film, they say whether or not it would make a good date movie.

Meanwhile, Scott Delahunt's "Lost In Translation" column at Psycho Drive-In takes a brief look at the historical accuracy of The Untouchables:

The film focuses on the Untouchables’ pursuit of Al Capone. Ness’ first outing in Chicago goes as it did historically, a lot of notice and no whiskey; Capone’s men had been tipped off by someone on the Chicago Police Department. Despite the headlines, Ness pushes on. He gathers a core group of men he can trust – former beat cop Malone, rookie cop Stone, and IRS accountant Wallace, who was assigned to help Ness with an eye on nailing Capone for tax evasion.

The point of view remains on Ness and his men for the bulk of the film. Capone is kept removed from the day to day operations of his mob, making it difficult to pin him on any crime. The mob boss does keep his own men in line, with force if needed. The choice is be loyal to Capone or die. Ness, however, earned the loyalty of the Untouchables. The difference between the mobsters and the law enforcement agents is wide. Capone has an expensive home, has staff who will serve the finest dinner on silver plates and wine in crystal glasses. Ness has a simple house, crammed in between two similar houses, a wife and child, simple furnishings. When Ness goes out with his team, they go to a cheap diner.

Ness’ investigation includes a raid on a smuggling convoy along the Canadian border with the RCMP’s assistance, where he manages to arrest Capone’s bookkeeper. With some persuasion, the bookkeeper helps Wallace to decode the ledgers. Capone doesn’t take the news well. Nitti is sent to make sure the bookkeeper doesn’t testify, resulting in both the bookkeeper and Wallace dead. Capone ups the ante by having Malone killed as well.

Undaunted, Ness continues the fight. In his dying breath, Malone tells Ness about Capone’s other bookkeeper being sent out of town by rail later that night. Malone and Stone stake out the railway station, leading to one of the tensest scenes in cinema history. The clip below doesn’t show the tension building as Ness watches people arriving and trying to figure out who could be part of Capone’s gang. The shootout is the release of that tension.

With the bookkeeper, Ness is able to build a case for tax evasion against Capone. Despite an attempt at jury tampering, Capone is found guilty, is fined $50 000 and is given 11 years in prison.

The movie takes a few liberties. Some were needed because of the nature of the medium. Ness had ten men initially, all under thirty and idealistic. It’s harder to corrupt a young man full of idealism than an experienced man who has seen how the world works. The TV series could bring in different members through the use of a rotating cast of supporting actors. A film doesn’t have that luxury, so Ness has just Malone, Wallace, and Stone. Frank Nitti didn’t die during Capone’s trial from a fall from a building; Nitti took over Capone’s mob when Capone went to prison and died by his own hand in 1943. However, the film did keep the focus on Ness’ investigation of Capone.

While some of the historical facts were loose, visual details were accurate. Chicago landmarks were used, and the fashion of the era for men and women, for high class and for working class, was accurate. Visually, the film is lush. The 1959 TV series didn’t have the luxury of colour, so couldn’t be anywhere near as lush. The advantage of movies is budget, and The Untouchables made the most of this advantage.

Like the 1959 series, the 1987 film lets drama outweigh historical accuracy in a few areas. However, the strength of the cast, the writing, and the filming lets audiences ignore differences until well after the film is over. The Untouchables is a crime drama, a war between law & order and criminal enterprise, and is well worth viewing even if it isn’t 100% accurate.



Posted by Geoff at 12:01 AM CDT
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Friday, August 14, 2020
FROM THE RAFTERS - 'VERTIGO' & 'DOMINO' SIDE-BY-SIDE
POSTED ON INSTAGRAM YESTERDAY BY CINEMASTERLY
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Posted by Geoff at 7:27 AM CDT
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Thursday, August 13, 2020
TRAILER - JUSTIN SIMIEN CITES DE PALMA FOR 'BAD HAIR'
REVIEWS FROM SUNDANCE SPECIFICALLY MENTION 'BODY DOUBLE' & 'CARRIE'

Hulu premiered the "teaser" today (see video above) for Justin Simien's new film, Bad Hair. According to Indiewire's Ryan Lattanzio, when Bad Hair premiered at Sundance this past January, Simien, who wrote and directed the film, said, "I follow my obsessions down the rabbit hole, and this one began with some conversations about, particularly a sub-genre of Korean horror films that deal with hair horror. I felt like there was a uniquely American story there. I’m obsessed with the ’70s and ’80s psychological thrillers, satirical mashups, Brian De Palma movies, Body Snatchers, Rosemary’s Baby, all those kind of movies."

Lattanzio's article continues:

Simien took from his favorite horror movies to tell a uniquely black story that he feels is missing from the horror genre. “I felt like I haven’t really seen anything that’s pulling from all those different traditions, but is also black, and is using those sort of cinematic techniques to interrogate and make us look at the absurdities of what black women specifically, but what all marginalized people go through,” he said.

“It’s a movie about a killer weave — spoiler alert — but the weave itself burst onto the national scene in 1989, specifically through the popularity of Janet Jackson, the ‘Pleasure Principle’ video first but then ‘Rhythm Nation’ and all those amazing Ebony covers,” Simien said. “I thought it would be an interesting way to look at ourselves but through a fantasy kind of lens. It’s easier sometimes to digest some of this stuff if we can be in a dream world, and I felt like I could make a dream world out of 1989.”

“Let’s not forget music and fashion at that time in black culture was alive and thriving. It’s really when it became rich,” star Kelly Rowland said.


Sharing the trailer at Deadline today, Dino-Ray Ramos states, "The teaser reflects Simien’s affinity for ’80s and ’90s horror pics and gives off some serious Brian De Palma energy as it follows Anna Bludso (newcomer Elle Lorraine), who had a traumatic experience during her childhood when her scalp was burned from a mild relaxer perm. Fast-forward to her adult life in 1989, and she is working at a music video TV show called Culture, which is the epitome of hip hop and New Jack Swing style. Her life is turned upside down when her dreadlocked boss is replaced by Zora (Vanessa Williams), a vicious ex-supermodel who looks to switch things up. When she warns Anna about her natural hair, she goes out and gets a weave from a bougie yet mystical hairdresser (Laverne Cox). She looks good and starts excelling at work with her new hair, but after a while, it begins to have a bloody mind of its own — literally."

Ramos adds that Hulu will release the film on October 23, "with a to-be-determined theatrical date," so I guess the takeaway there is that it will be streaming on Hulu October 23rd, with a possible theatrical release beforehand.

Two reviews of Bad Hair from that Sundance premiere specifically mention De Palma's Body Double:

Monica Castillo, The Wrap

Bad Hair” is shot on film in a way that captures the movie’s throwback look and allows Simien and his cinematographer Topher Osborn to play with color and lighting. The night scenes practically sparkle from blue moonlight, yet dark alleyways and overpasses look even more foreboding with less light. In some scenes, colorful neon signs and lighting fixtures heighten the intensity of the moment.

There’s one particularly striking scene of two actors in mid-kiss backlit with a bright blue light, and carefully composed moments like this add to the film’s suspense – things can’t be this pretty all the time in a horror movie.

Costume designer Ceci also deserves a round of applause for recreating the vivid fashions from the start of her career in the late 80s and early 90s. The gamut of costumes range from professional office wear at the TV channel to casual clothes when visiting family to the fashionable excesses of performers and TV personalities. Many of Ceci’s ensembles also tell a nuanced story of cultural identity and class.

Simien dives into his love of horror movies and peppers references to some of his favorites throughout “Bad Hair.” For instance, there’s a split diopter shot as an homage to Brian De Palma’s “Body Double,” an axe that harkens back to Stanley Kubrick’s “The Shining” and many other allusions to such movies as “Carrie,” “Rosemary’s Baby” and “Invasion of the Body Snatchers.”

Bad Hair” references itself often, repeating scenes and clues to the story in flashbacks, which can sometimes get in the way of its own momentum. The movie is front-loaded with exposition, but once the action gets going and the narrative pieces fall into place, “Bad Hair” is a creepy movie with thoughtful political twists and thrilling supernatural turns.


Eric Kohn, Indiewire
The plight of black women and their hair has birthed enough cinematic investigations to yield its own subgenre, from Chris Rock’s astute 2009 documentary “Good Hair” to the 2020 Oscar-nominated animated short “Hair Love.” These endearing cultural explorations are mere preludes to the exuberance of “Bad Hair,” a rambunctious, overindulgent comedy-horror excursion from “Dear White People” director Justin Simien. Equal parts vintage Brian De Palma thriller and race-centric corporate fashion satire in the spirit of “Putney Swope,” Simien’s ludicrous ’80s-spiced supernatural B-movie doesn’t know when to quit, much like the demonic weave at its center.

With 2014’s “Dear White People,” Simien became one of the most exciting writer-director voices in black cinema, merging scathing and satiric observations with genuine insights into contemporary African American frustrations. “Bad Hair” turns the clock back to 1989, elaborating on the thorny issues surrounding black women in popular culture, and may as well be a prequel set in the same snarky universe. However, “Dear White People” managed a tricky balance between snark and genuine social commentary, but even the most acrobatic screenwriting can’t bear the weight of everything Simien tosses into “Bad Hair.” Working overtime to wring substantial insight from a deranged premise about a killer hairstyle with a thirst for blood, the movie’s alternately trying too hard and not hard enough.

At least it’s a substantial mess: “Bad Hair” opens with a James Baldwin quote, digs into the contradictions of the nascent music video industry, and bemoans the sexism of late-’80s workplace — all before tackling the specter of slavery that frames the entire premise. At the same time, it’s a riotous genre pastiche filled with shrieking music cues, canted angles, and shadowy encounters galore. Simien crams the wild psychological thrills of “Body Double” into the framework for wry anti-capitalist humor, and that’s appealing enough in fits at starts. At 115 minutes, however, “Bad Hair” struggles to make its disparate elements click; there’s just enough potential strewn throughout to make it clear the movie could have benefited from a shearing of its own.


Posted by Geoff at 6:44 PM CDT
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