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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
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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
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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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Monday, June 7, 2021
'OMAGGIO a DONAGGIO' FOR RECORD STORE DAY
ISABELLA TURSO HAS COMPOSED PIANO WORKS INSPIRED BY DONAGGIO'S MUSIC FOR NEW ALBUM
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Isabella Turso celebrates Pino Donaggio, who turns 80 later this year, with an album of new songs directly inspired by the composer. And it turns out, Donaggio himself suggested the idea to Turso. All of the images here come from the album cover of Omaggio a Donaggio, a special limited edition release for Record Store Day.

https://www.angelfire.com/de/palma/omaggioadonaggio0.jpg

https://www.angelfire.com/de/palma/omaggioadonaggio1a.jpg

https://www.angelfire.com/de/palma/omaggioadonaggio2.jpg

https://www.angelfire.com/de/palma/omaagiocover.jpg


Posted by Geoff at 12:01 AM CDT
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Sunday, June 6, 2021
SLATE - WHAT MAKES A GOOD STEPHEN KING ADAPTATION
KING HAS ADAPTED HIS OWN NOVEL 'LISEY'S STORY' FOR PABLO LARRAIN-DIRECTED SERIES
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Slate's Jack Hamilton includes Brian De Palma's adaptation of Stephen King's Carrie as an example of King adaptations that mange to get around the fact that King's books are not easily given to screen adaptation:
The long, long list of unsatisfying King adaptations—of which Lisey’s Story is certainly among the better entries—may tell us something about King as a writer, and the shape of his remarkable career. Stephen King has been writing hugely popular and influential fiction for almost half a century, but for much of the early part of his career he was often dismissed as a mass-market genre writer. As this brief 1979 New York Times profile notes, King’s early books were paperback phenoms that barely registered on the hardcover bestseller lists. In the 1970s the popular genre fiction market was thoroughly entwined with the Hollywood development machine, and many of the biggest blockbusters of that decade—Love Story, The Exorcist, The Godfather—were based on what might today be called airport paperbacks. In 1974, the same year that King made his debut with Carrie, a first-time novelist named Peter Benchley published a salacious beach-read called Jaws, which was adapted into a movie the following summer. (The film did well.)

From the start, King was seen as the kind of writer who writes books to get turned into movies, because that was the widespread conception of the publishing market to which he’d been consigned. King has always had a surfeit of ideas, and many of his horror novels have the sort of one-sentence synopses that seem like they’d make for killer movie material: a bullied teenaged outcast develops telekinetic powers; a writer battling alcoholism and writers’ block moves his family into a sinister old hotel; a malevolent force in the shape of a homicidal clown stalks a town from generation to generation. But unlike some of the writers he was lumped in with, King’s books never read like movie treatments, and many of the devices he frequently deployed—fragmentary narration and shifting perspectives, non-linear chronologies, a keen interest in his characters’ interiority—aren’t mainstays of conventional horror filmmaking.

The most successful adaptations of King’s horror work have found ways to get around this. To stay with the three examples above, in adapting Carrie in 1976, Brian De Palma and screenwriter Lawrence D. Cohen straightened out the narrative and dispensed with the novel’s patchwork form, a mix of conventional third-person narration interposed with excerpts from newspapers, academic volumes, and other fictional sources. Stanley Kubrick’s The Shining jettisoned much of the book’s focus on Jack Torrance’s struggles with alcoholism and his gradual descent into madness in favor of a haunted hotel story. (King famously hates Kubrick’s version of The Shining, complaining—and not wrongly—that Kubrick made Torrance into a standard horror-movie psychopath.) The first “Chapter” of Muschietti’s It was remarkably well-done and truly scary, but it also relegated the book’s “adult” sections—which in the novel are intertwined with the childhood sections—to a sequel, It: Chapter Two, which was ham-fisted and bloated, stumbling into many of the pitfalls the first chapter managed to avoid.

Most of the best King adaptations are drawn from material that is horror-adjacent, at most: The Dead Zone, “The Body,” “Rita Hayworth and the Shawshank Redemption,” Dolores Claiborne. Lisey’s Story isn’t strictly horror, but it doesn’t neatly reduce to a logline; it’s a great idea, but hardly a straightforward one. It’s one of those books that when someone asks you what it’s about, all you can tell them is to go read it. It’s also a moving rumination on stories and inspiration, and the places fiction writers get their ideas, a subject that King—one of the most absurdly prolific popular artists in history—has probably been asked about more than almost anyone on earth. It’s not an easy book to make a television series about, which is to its writer’s credit. Lisey’s Story’s failings aren’t an indictment of King the screenwriter, they’re a tribute to King the novelist.


Posted by Geoff at 12:01 AM CDT
Updated: Monday, June 7, 2021 8:23 AM CDT
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Saturday, June 5, 2021
BEFORE THE DOORS CLOSE - DTK & STAR WARS
THE WHIRRING OF VADER'S INTERROGATION DROID ECHOES WITHIN DE PALMA'S SLOW-MOTION ELEVATOR MOMENT
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I revisited George Lucas' Star Wars (A New Hope, 1977) last week, and the scene in which Darth Vader submits Princess Leia to an interrogation droid struck an odd déjà vu feeling. It made me think of the elevator suspense scene in Brian De Palma's Dressed To Kill (1980). The kicker is the whirring sound effect that enters the soundtrack in Lucas' film when the droid appears on screen. The whirring appears over John Williams' music, and so appears to be a sound effect, not part of the score. As the camera, from Leia's point of view, zooms in closer to the needle being held by the droid, the whirring sound slowly gets faster and faster, eventually raising its pitch, as well, until we (via a cut) step outside the room. The sound of the door slamming shut from top to bottom drowns out the whirring as well as any other sound, followed immediately by a set of hard shoes on a walkway grid that the camera then follows.

In De Palma's film, a similar whirring sound begins as Liz turns and meets the killer's eyes in the mirror. As in Lucas' film, this sound appears to be an effect separate from Pino Donaggio's music. In fact, it sounds like the effect may have been achieved (I am taking a guess) by gradually speeding up a sound on a reel-to-reel tape player. It is interesting to note that the sound quickly fades as Bobbi's eyes turn away from Liz, breaking their gaze and then dropping the razor to the floor.


Posted by Geoff at 6:26 PM CDT
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Friday, June 4, 2021
'A LOVE LETTER TO FILM'
CINENAUTS PODCAST DISCUSSES DE PALMA'S 'BLOW OUT'
https://www.angelfire.com/de/palma/blowouthotelwindow45.jpg

The newest episode of the Cinenauts podcast features an in-depth discussion of Brian De Palma's Blow Out. Here's the episode decsription:
For their 31st mission, the Cinenauts are joined by special guest Jordan McGrath of the HIS FILM HER MOVIE podcast to discuss Brian DePalma's BLOW OUT starring the John Travolta! Also discussed in this episode: His Film Her Movie, Cruella and the Disney remakes, the underappreciation(?) of John Travolta and much more! Send us an email or voicemail at cinenautspod@gmail.com.

Posted by Geoff at 12:01 AM CDT
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Thursday, June 3, 2021
'PHANTOM' ART BY COMIC BOOK ARTIST MATÍAS BERGARA
"First time watching Phantom of the Paradise (1974). Masterpiece!"
https://www.angelfire.com/de/palma/matiasbergara.jpg

Posted by Geoff at 12:01 AM CDT
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Wednesday, June 2, 2021
BILGE EBIRI DIGS INTO 'MI' ON 'LIGHT THE FUSE' PODCAST
AND THE HOSTS ANNOUNCE DE PALMA/LEHMAN INTERVIEW COMING SOON
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In the intro for the May 21st episode of the "Light The Fuse" podcast, hosts Charles Hood and Drew Taylor announce that they have interviewed Brian De Palma and Susan Lehman for an upcoming episode, timed around the publication of the paperback edition of De Palma and Lehman's novel, Are Snakes Necessary? (release date July 13). Meanwhile, this episode features part one of the podcast's interview with Vulture film critic Bilge Ebiri, which was conducted a few days prior to Ebiri writing his great article, "The First Mission: Impossible Is Still the Best". It's a fun episode in which Ebiri delves even more into why he believes the world of Mission: Impossible is perfect for De Palma's cinematic sensibilities and obsessions.


Posted by Geoff at 11:38 PM CDT
Updated: Wednesday, June 2, 2021 11:40 PM CDT
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Tuesday, June 1, 2021
'BONFIRE OF THE VANITIES' IN HD HITS HBOMAX TODAY
FOR WHEN YOU HAVE TIME FOR A QUICKIE
https://www.angelfire.com/de/palma/quickie1.jpg


Posted by Geoff at 11:23 PM CDT
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Thursday, May 27, 2021
'A STAR VEHICLE WITH A DEEPLY WEIRD SENSIBILITY'
BILGE EBIRI ON 'WHY DE PALMA MADE SUCH AN IDEAL DIRECTOR' FOR 'MISSION: IMPOSSIBLE'
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Vulture film critic Bilge Ebiri posted an anniversary article today with the headline, "The First Mission: Impossible Is Still the Best" -- here's an excerpt:
If you told those of us who saw Mission: Impossible in theaters in 1996 that, 25 years later, the series would still be going strong, with Tom Cruise’s Ethan Hunt having outlasted two James Bonds, two Supermen, and three Batmen, we probably would have called you an idiot. It’s not that the movie (which, to celebrate its anniversary, has just been rereleased in a remastered new Blu-ray edition) wasn’t a sizable hit — it was — but it was also initially held at something of a remove by critics and audiences alike. It was the kind of smash-and-grab blockbuster that made a huge chunk of its box office in its opening few days and didn’t seem to care about word of mouth. That type of hit is, of course, pretty much all we have nowadays, but back in 1996, it wasn’t exactly a mark of quality.

Critics, who’d always been divided on the work of director Brian De Palma, saw Mission: Impossible as a movie that showcased his expertise with suspense, but one that didn’t have much personality to it. The action setpieces (mostly) received their share of praise, while the screenplay (credited to Robert Towne and David Koepp, and reportedly revised constantly throughout production) got knocked for being confusing or nonsensical. Many fans of the original series were disappointed that this new version was less about teamwork and spycraft and more about Tom Cruise jumping off exploding trains. (Some were also upset that this film decided to make Jim Phelps, the ostensible hero of the original show, a villain.) The then-small-but-growing ranks of the Extremely Online chuckled over the picture’s representation of how the internet works. Its CinemaScore grade was a mere B+ … which, in the world of hyperinflated CinemaScore grades, is generally cause for concern.

No, there was definitely something uncool about Mission: Impossible. It was somehow both too smart for its own good and also, weirdly, not smart enough. Besides, Tom Cruise: action star? What? It’s hard to remember now, but Mission: Impossible was an odd choice at the time for the actor, who had built his stardom through a savvy combination of mainstream prestige pictures and pop hits but had never really been an ass-kicking action hero. In Top Gun, he flew jet fighters, while in Days of Thunder, he raced cars; in those movies, the action came from the machines, not the people. And despite his incredible box-office run, Cruise avoided sequels. Mission: Impossible, which he produced, seemed very much like the type of flick designed to establish a franchise, an odd choice for a performer whose white whale at the time was not so much box-office success as Oscar glory. (At the time, he’d only been nominated for 1989’s Born on the Fourth of July, though he’d starred in numerous Oscar-anointed films, such as A Few Good Men and Rainman. However, he’d soon be nominated for that year’s Jerry Maguire and, not long after, Magnolia. He still hasn’t won that Oscar.)

That odd choice would soon prove prophetic. It didn’t seem likely at the time that the industry would one day mostly abandon the star-driven, medium-budget hits that had been so important to Brand Cruise — that everything would eventually become subsumed into franchises and so-called IP, and that a star’s earning potential would become wedded to their ability to play the same, extremely familiar character over and over again in multiple installments of the same film series. Did Cruise himself recognize that this would become the way of the world? Probably not. He still had a good decade of star turns ahead of him. Jerry Maguire was still in the future, as were Minority Report and Collateral and War of the Worlds (and, of course, Magnolia, arguably his greatest performance). But one day, after his public image exploded, he’d wind up needing Mission: Impossible to help him claw back to relevance — and to some modicum of public affection.

In the period following the original’s release, however, you could sense the series struggling to find its footing. Mission: Impossible II, which came out four years later, was tonally very different from the first one. Director John Woo went for straight-up action ballet, with Cruise doing acrobatic gunplay while performing elaborate motorcycle stunts, the rest of his team essentially reduced to bit parts. Six years after that, the third entry, directed by J.J. Abrams, went dark and shaky-cam, entertainingly upping the explosions and the personal backstories. I would argue that the series didn’t fully hit its stride until 2011’s Mission: Impossible – Ghost Protocol, which in many ways restored the central idea that had made the original so effective.

So, what was that idea? And how has it endured so long? Is it just, you know, stunts?

Not quite. Mission: Impossible delivered a new spin on properly utilizing what was then Cruise’s thermonuclear star power. In the 1980s and early 1990s, the actor represented a fresh-faced, can-do macho ethos; this was a far cry from the musclebound strongmen and grizzled wiseasses who dominated action cinema. But by the mid-’90s, the Age of Irony was fully upon us, and Cruise’s all-American appeal needed some complication. A little of this guy went a long way: Let Cruise be too confident, too capable, too smirking and cool, and you ran the risk of silliness and annoyance. (This is why Mission: Impossible II, by the way, for all its financial success, kind of stinks.) The man could no longer grin his way through his challenges.

The trick, it turned out, was to add a bit of slapstick. Tom Cruise was a handsome, physically gifted supernova with a thousand-watt smile, but the key to making him a relatable action star was, well, to humiliate him a little. The first Mission: Impossible gave us a hero whose confidence gets him into ridiculous situations that make him look foolish: What makes the infamous Langley break-in sequence so immortal isn’t the intricate derring-do of the heist itself; it’s the fact that Ethan Hunt winds up anxiously hovering two inches off the floor, desperately flapping his arms about — because there are few things more satisfying in modern mainstream cinema than the sight of Tom Cruise looking like a total dork. And weirdly, he seems to know it. For all the theatricality of his performances, Cruise is great at deadpan.

This might also be why De Palma made such an ideal director for this material, and for this star. No auteur was better at undercutting his protagonists, at turning his heroes into marks, cuckolds, dupes, and dopes. Mission: Impossible is much more of a Brian De Palma film than it gets credit for being. Certainly, the director loves the demonic artifice of cinema — his work simultaneously mines it for aesthetic power while purposefully highlighting its inherent phoniness — and with their vast array of costumes and masks and breakaway walls and falsified surveillance images, what are Ethan Hunt and his colleagues but a bunch of amateur filmmakers who also happen to be professional spies? Tied into this embrace of artifice is also a dedication to the old-school suspense setpiece — silent, carefully choreographed, focused on details — of the kind that these movies have deftly woven in with the more typical big bang-boom of modern action spectacle.

Ethan even becomes, for a while, one of De Palma’s classic sexual marks. The film isn’t just about Ethan and his team’s betrayal by their leader, Phelps (Jon Voight); it’s also about Ethan’s betrayal by Jim’s wife, Claire (Emmanuelle Béart), with whom he clearly has a romantic connection. By the end, when Ethan discovers that Claire has been working with Phelps all this time, the deception genuinely stings. A sex scene was reportedly shot and then cut from the finished film, but the point still comes across: It’s in Ethan and Claire’s longing glances, in their gentle kisses and caresses. Mission: Impossible played a little demure in 1996. Today, it feels downright heated.

Perhaps it’s this hybrid quality — as an action flick with a flair for the perverse and the intimate, a star vehicle with a deeply weird sensibility — that makes the first Mission: Impossible hold up so well. Perched at that moment, when everything in the industry began to change, it’s a surprisingly slippery movie, not quite one thing and not quite the other.



Posted by Geoff at 12:01 AM CDT
Updated: Friday, May 28, 2021 12:15 AM CDT
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Saturday, May 22, 2021
'A SUBVERSIVE RAGE' - 'MISSION IMPOSSIBLE' TURNS 25
ENT. WEEKLY'S DARREN FRANICH GETS IT - VOIGHT IS THE FILM'S 'MONSTROUS SOUL'
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"25 years later, Mission: Impossible has a crucial subversive lesson for every franchise," reads a headline from yesterday at Entertainment Weekly. Although the article by Darren Franich steers toward discussion of franchise, the "subversive rage" he mentions is there in the film from Danny Elfman's opening crescendo of percussion over the Paramount logo, and quietly simmers as Jon Voight's Jim Phelps is asked if he would like to watch a movie, and replies, "No, I prefer the theater." The theater, indeed-- Tom Cruise's Ethan Hunt, full of his own angst after the death of most of his team, will take a deep dive into Phelps' rage by putting himself in the shoes of Phelps' secret identity, Job.

It's no wonder Ethan Hunt looks so troubled as he's offered a movie to watch on the plane in the film's final shot. His mentor had perversely turned traitor, and now Ethan knows the story inside and out. Would Ethan ever allow or find himself to be as corrupt as his mentor? As if being woken from a De Palma-style nightmare on the plane at the end (remember Jim Phelps' bloody Carrie-and-Deliverance-like hand coming toward Ethan in a dream?), Ethan's troubled look leaves the question hanging. A ghost, as Kittridge might call him, and yet obliged, like Besson's Nikita, to "consider the cinema of the Carribbean," or "Aruba, perhaps?"

Here's more from Franich:

Jon Voight was 57 when Mission: Impossible hit theaters 25 years ago, but everything about Brian De Palma's movie renders him older. Gray-haired Jim Phelps wears suspenders that are painfully '80s — and May 22, 1996, was one of the last times in history nobody wanted to look '80s. Quite a contrast with Ethan Hunt (Tom Cruise), Jim's fellow secret agent, a walking smirk whose leather jacket shines brighter than his hair gel. Everyone else in Jim's Impossible Mission Force is cool: stylish European women, brash American dudes, thirtysomethings right at that perfect midpoint between being Young and being In Charge.

They just got done running an op in Kiev. Jim missed it, taking an expense-account job-cation to run recruitment out of the Drake Hotel (oooh!) in Chicago. "Guy's getting soft in his old age!" Ethan says. It's just a bit of ribbing, because Jim is his mentor. It's also a generational threat. Jim's wife, Claire (Emmanuelle Béart), is on the team, too. She's younger than Ethan, and when he makes his joke about old man Jim, Claire flashes her husband an unreadable glance. Does she feel sorry for him? Is she seeing him the way the boys do — a good man, yes, but a bit paternal? In the opening scene of Mission: Impossible, Ethan injects an unconscious Claire with a syringe and then cradles her cheek. Part of the job, of course, yet De Palma's romantic framing demands subtextual perversion. Don't these two just make more sense together? And then Jim dies in the first act: a tragedy, unless you're a human with a pulse who came to a Tom Cruise movie for Tom Cruise.

Jim Phelps was a main character on the original Mission: Impossible, played by Peter Graves across a couple iterations from 1968 through 1990. It's not clear whether Voight is literally the same character; canon barely mattered in 1996 outside the Star stuff, and Voight was a decade younger than his predecessor. But the general audience carried the memory of Graves' silver-haired monotone right into the movie. What was that memory, exactly? The other day, I went to Paramount+ to find a random Mission episode from February 1971 — almost as far from the movie as the movie is from us. In "Kitara," Jim's team goes to "the African nation of Bocamo," where "a colonial minority" practices "severe racial segregation." What this means, in dramatic terms, is Jim goes undercover with a ridiculous accent, because the bad guys speaks Villain English. Meanwhile, his crew uses a special pill on the malevolent military governor (Lawrence Dobkin) that turns his white skin black.

It's crazier than it sounds, with a plot that requires the Leonard Nimoy character to say (undercover, but still): "I am 1/16th Black." I don't bring this up to demand a cultural reckoning with a half-century-old TV episode (which was anti-apartheid in spirit if helplessly tone-deaf in execution). The thing to notice is how Graves' expression doesn't waver once. Here's Jim Phelps in an off-key racial-hysteria cartoon — walking around a corner of West Africa that looks like some producer's Beverly Glen courtyard — and he greets every incident with the same indifferent newsman grimace.

Elsewhere in the early '70s, Voight was going river-mad in Deliverance, and De Palma was putting Hitchcock under the knife with Sisters, and screenwriter Robert Towne was busily composing Chinatown. The fact that all three New Hollywood-ers wound up working on a TV adaptation about Tom Cruise's fitness regimen was end-of-cinema talk in 1996. But there's a subversive rage in the first Mission: Impossible, totally absent from the later films in the franchise. Everything goes wrong in the opening embassy mission. Nerdy hacker Jack Harmon (Emilio Estevez) gets skewered in an elevator — a heart-dagger for any Mighty Duck kids who saw Coach Bombay laughing with Cruise in the trailer. The rest of the team dies, too. It's one of the best first half-hours in any thriller. You only gradually realize how many different counter-plots were playing out in front of you. There's the embassy party, and a traitor stealing valuable information, and the IMF team stopping that traitor, and another IMF team setting up this whole operation to smoke out a mole in the agency.

At the center of this mystery maze is the mole: Jim Phelps, legendary hero of Mission: Impossible, a friend-killing backstabber who sells out the entire global security apparatus for some retirement cash. Between Jim's "death" and his surprise reappearance, the movie loses a step. Everyone remembers the hanging computer hack, which is a blast. But the screenplay is officially credited to Towne and David Koepp, plus a "story by" credit for Steven Zaillian and rumors of script doctoring by everyone in town. You feel Mission's many cooks, the sense that Cruise's star power is gluing together some missing motivation. The dynamic between Ethan and Claire doesn't land anywhere it should: not romantic, not sexual, not suspicious, really nothing. They stitch together a renegade squad with Luther (Ving Rhames) and Krieger (Jean Reno). They fly to America, to London. They prepare a final sting to flush out the real bad guy.

And then Jim finds Ethan. He peddles an alibi, blaming the team's death on Kittridge (Henry Czerny). Ethan doesn't buy it. He can see the truth. We watch Jim's shooting from another angle. The old man fires his own gun, and reaches for blood packs. The look on Voight's face is astounding: a primal scream, a smile unlike any smile Tom Cruise has ever grinned (except maybe amid Interview With the Vampire's erotic vanquishment). He is getting away with something awful. He loves it.

In this late Ethan-Jim conversation, Mission rediscovers all its layers. They're both fooling each other, and their lies ring true. Why, Ethan wonders, would Kittridge have done all this? "Why, Jim?" he asks, "Why?" Jim's response has the quality of confession:

When you think about it, Ethan, it was inevitable. No more Cold War. No more secrets you keep from everyone but yourself, operations you answer to no one but yourself. And then one day, you wake up, the President of the United States is running the country without your permission. The son of a bitch. How dare he? Then you realize it's over. You're an obsolete piece of hardware not worth upgrading. You've got a lousy marriage and 62 grand a year.

"It was inevitable," says the hero of an old Mission: Impossible who is now the monster of the new Mission: Impossible. Every franchise gets the religious treatment now, so it's hard to think of any comparable event in recent years. Imagine if Luke actually was a bad guy in the new Star Wars movies, or if a Harry Potter sequel in 10 years finds Hermione peddling Ministry of Magic secrets to some breakaway Durmstrang alumni. A cosmic perspective on the last 25 years of movie franchises might declare that movie sagas have gotten more serious. But that's mostly cosmetic. James Bond keeps saving the world, and even Evil Superman is just a prophecy. (One Terminator turned John Connor into a bad guy, a decision offset by how Arnold Schwarzenegger's robot keeps getting nicer.) There are exceptions, and cultural reckonings nudge recent franchise expansions to reconsider their heroes in a broader context. But according to original series star Martin Landau, one original plan for the first Mission movie was to kill off the entire TV show cast in the opening reel. Today there would be social media scandals, actors and fans uniting with anxious executives to ensure a proper nostalgic celebration. In 1996, Mission: Impossible could still reserve its fan service for bleak jokes. "Good morning, Mr. Phelps," Kittridge says when the jig is up. That greeting started almost every episode of the show. Here, it sounds an awful lot like Gotcha, sucker.



Posted by Geoff at 12:01 AM CDT
Updated: Sunday, May 23, 2021 5:56 PM CDT
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Friday, May 21, 2021
20 YEARS AGO, DE PALMA FILMED OVERNIGHT AT CANNES
AND DID YOU KNOW HE HAD AN AQUARIUM INSTALLED IN THE LOBBY OF THE PALAIS DES FESTIVALS? VIDEO...!
https://www.angelfire.com/de/palma/ffredcarpetgroup.jpg

Twenty years ago today, a day after the closing night of the 54th Cannes Film Festival on May 20, 2001, Brian De Palma and his cast and crew were hard at work preparing for an overnight Monday-Tuesday shoot, filming the bravura opening heist sequence of what turned out to be one of his finest films, Femme Fatale. After it was all done, Variety's Alison James filed a brief report about the overnight shoot:
CANNES — Having shared the limelight with new artistic director Thierry Fremaux and new managing director Veronique Cayla throughout the just-concluded Cannes Intl. Film Festival, Gilles Jacob stood on the Palais steps alone Tuesday — for his bigscreen debut in Brian de Palma’s “Femme Fatale.”

Playing himself, the fest prexy greeted helmer Regis Wargnier, actress Sandrine Bonnaire, producer Yves Marmion and the cast and crew of Wargnier’s “East West” as they climbed the red-carpeted steps for a specially staged opening sequence of De Palma’s $35 million thriller.

The two-day shoot, a day after the film festival closed, took three months to prepare, according to Marina Gefner, who is producing with Tarak Ben Ammar. Ben Ammar’s Quinta Communications fully financed the film.

De Palma persuaded Wargnier to participate “because they are friends,” said Gefner. Some 1,000 extras were hired and almost 200 press photographers who had been covering Cannes were persuaded to stay on for the film shoot. Car rental companies and the local police also were called upon to take part.

As for Jacob, he was “fantastic and very professional,” Gefner said.

“It was a long night. We started at 8:30 p.m. and went on until 6 in the morning, but he remained right until the last shot,” she said.

On the Sunday night before, during the closing awards gala, Jury President Liv Ullmann announced that the director's prize would be shared by David Lynch for Mulholland Drive, and Joel Coen for The Man Who Wasn't There. Although Antonio Banderas had already completed filming all of his scenes in Femme Fatale before Cannes, and does not appear in the opening sequence, he was at the festival to accompany his wife, Melanie Griffith, who was the Cannes guest of honor that year. Griffith received the Festival Trophy on May 19th at a dinner reception following a screening of Working Girl. Melanie and Antonio then made a splash for a second night in a row on the red carpet for the Cannes closing night gala:

In a May 24, 2001 report on French TV channel TF1, Gilles Jacob said that De Palma first brought up the idea of filming at the festival at a dinner the year before in which he was accompanied by Antonio Banderas and Melanie Griffith. "De Palma is a great director," Jacob told TF1. "It's a pleasure to be doing this."

A Nice Matin article from that week described De Palma's tendency to jump out of his chair and direct the actors closely on a moment's whim or inspiration. According to TF1, Wargnier enjoyed his role as much as Jacob, saying that it is always interesting to be on the other side of the camera and study another director's methods. Wargnier, who says that he and De Palma have long admired each others' work, was also consulted by De Palma about locations prior to the shoot in Paris. "De Palma and I became friends 11 years ago," Wargnier told TF1 in 2001, "and he enjoyed my film East-West so much that I couldn't refuse." Rebecca Romijn-Stamos (as she was known at the time of the interview) told the station that De Palma is a legend. "He listens to my ideas," she continued, leading into a laugh, "but ends up doing what he has in mind."

I was surprised this week to find a video on YouTube, posted a couple of years ago by Aquadia Scandia Aquariums Cannes FRANCE, showing a team installing an aquarium inside the Palais des Festivals. The aquarium they installed during the day the Monday after the festival appears to be a smaller version of an aquarium that was already a central part of the building's lobby. In this movie aquarium (which the camera in Femme Fatale glimpses only briefly as it passes by a couple of times), the team appears to have included a crystal ball. In the final film, the aquarium can be seen most clearly in this shot, next to Rie Rasmussen:

 


Posted by Geoff at 12:01 AM CDT
Updated: Tuesday, May 25, 2021 12:22 AM CDT
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