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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


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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

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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

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Icebox Movies

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Not Just Movies

Hope Lies at
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Motion Pictures Comics

Diary of a
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So Why This Movie?

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Nothing Is Written

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Every '70s Movie

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No Time For
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De Palma a la Mod

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Monday, August 2, 2021

According to Blu-ray.com, "Universal Pictures Home Entertainment is preparing a 4K Blu-ray release of Brian De Palma's crime thriller Carlito's Way (1993), starring Al Pacino, Sean Penn, Penelope Ann Miller, John Leguizamo, and Ingrid Rogers. Currently, the release is set to arrive on the market on October 19."

Posted by Geoff at 12:01 AM CDT
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Sunday, August 1, 2021

In a Zoom interview that runs just over a half hour, Brian De Palma is interviewed by Sam Fragoso for the latest episode of the podcast Talk Easy. Centered around the 40th anniversary of Blow Out, Fragoso kicks off the conversation with a quote from Pauline Kael's 1981 review of that film in The New Yorker: "For the first time, De Palma goes inside his central character, and he stays inside. He has become so proficient in the techniques of suspense that he can use what he knows more expressively. It's as if he finally understood what the technique is for. This is the first film he has made about the things that really matter to him." Fragoso then asks De Palma, "How does that description land with you?"
De Palma: It's very perceptive. I don't know if it's the first time I've made a film about things that matter to me, but it came from a very interesting idea, and I developed it into a whole scenario with characters that were full-blown. So it had a kind of emotional depth to it.

Fragoso: If she is right about making a film about the things that matter to you, I'm curious, what were those things?

De Palma: I'm obviously very interested in visual storytelling, and this lent itself to tell a story, a lot, with just pictures. And not relying on dialogue to explain everything. The whole idea of this film came from a couple of things. One was when I was cutting a soundtrack for footsteps -- I think it was for Murder a la Mod, there's a lot of footsteps in the graveyard -- I realized what we were using to separate the sounds, which is known as "fill," was Lawrence Of Arabia. Here, one of the greatest films of all time, is now "fill," in the footsteps of the mix I'm preparing for Murder a la Mod. So that irony stayed with me. And the other thing, which starts the whole film off, is when I was mixing Dressed To Kill, and I talked to my sound mixer. I said, "That effect of wind in the trees-- I've heard this!" I mean, I'd been working with the same sound guy for years, and I kept on hearing the same wind in the trees.

Fragoso: This is Dan Sable.

De Palma: Yeah, Dan Sable. And I said, "Dan, get me some new wind in the trees!" So that gave me the whole beginning of the movie, and this sort of ironic twist at the end. You know, the fact that the scream becomes just an effect to be used in a kind of tawdry horror film.

And that's just the start-- here's the podcast description of the episode:
Legendary filmmaker Brian De Palma joins us this week! In celebrating the 40th anniversary of Blow Out, we discuss how the project came to be (4:17), the casting of John Travolta (7:49), a post-production mishap (8:48), and the film’s initial reception in 1981 (10:27). Growing up in ’40s Philadelphia, De Palma reflects on his complex childhood (11:06), his Quaker education (12:54), the moment he knew he wanted to direct (15:42), and the chaos of his early documentary work (20:44). Then, before we go, we revisit his masterpiece, Carlito’s Way (27:44), the end of “the director-as-superstar” era (33:16), and the enduring power of a childhood favorite, The Red Shoes (37:09).

Posted by Geoff at 5:44 PM CDT
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Saturday, July 31, 2021

Posted by Geoff at 11:47 PM CDT
Updated: Sunday, August 1, 2021 11:23 AM CDT
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Friday, July 30, 2021

"Celebrating the inimitable team of Roger Ebert and Gene Siskel, and also going head to head against them talking about movies and moviemaking from our modern perspective." That's a description of the podcast Barbs Wired, hosted by Keri Lynn and Skipper Martin. The latest episode, "Deconstructing De Palma," focuses on four Brian De Palma films: Sisters, Dressed To Kill, Blow Out, and Raising Cain. Listen to the pair give short shrift to Sisters, and discuss their surprise to hear, upon the release of The Untouchables, that Siskel names Sisters as his favorite De Palma picture.

One of the most interesting aspects of the episode is Skipper Martin's discussion of how he used to dismiss De Palma's nods to Hitchcock as nothing but a "ripoff,"  but how a re-watch of Dressed To Kill made it all click for him-- that De Palma was "playing" with the viewer, using what the viewer knows about Hitchcock to set the viewer up. And it made him rethink what Tarantino does, then, as well. Skipper possibly gets that idea from Roger Ebert, who says something similar in the Siskel/Ebert Untouchables-era discussion about Sisters they include in the episode.

Posted by Geoff at 11:56 PM CDT
Updated: Friday, July 30, 2021 11:57 PM CDT
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Thursday, July 29, 2021

Posted by Geoff at 12:01 AM CDT
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Wednesday, July 28, 2021

The release of Jungle Cruise this week prompts The Ringer's Miles Surry to look at the modern state of "theme park ride movies." Brian De Palma took over as director of Mission To Mars after Gore Verbinski had dropped off of that project, and Verbinski eventually had hits with a different Disney theme park ride movie:
As Disney grows bigger and acquires more properties, there are countless ways for the company to dominate the box office in any given year: a new Star Wars movie, another entry in the Marvel Cinematic Universe, the latest tear-jerking Pixar project, even the long-awaited sequels to James Cameron’s Avatar. Such domination has come at the expense of projects that feel fresh and marginally original—these days, almost everything Mouse House churns out is a sequel, reboot, remake, or an extension of an established cinematic universe. (Even a studio as lauded as Pixar got a little too sequel-happy for its own good before Onward, Soul, and Luca.) But the box-office receipts speak for themselves, and as Disney doubles down on its strategy of maxing out its IP, the company is returning to an unsung resource: theme park rides.

Considering the studio is so risk-averse, it’s oddly amusing that theme park movie adaptations have repeatedly come out of the Disney pipeline—it’s a gambit that’s almost always failed. A middling made-for-TV adaptation of Tower of Terror got the ball rolling in 1997, but it wasn’t until the turn of the century that Mouse House started really swinging for the fences: If there’s one thing Mission to Mars (2000), The Country Bears (2002), and The Haunted Mansion (2003) have in common, it’s that their sheer WTF-ness was almost instantly met with quizzical responses. Mission to Mars is perhaps the most notable outlier and was directed by the great Brian De Palma (an auteur who’s as un-Disney as they come); it was based on a ride that was already closed and featured legitimately disturbing death scenes despite being rated PG. (This is also why Mission to Mars unironically rules, scathing reviews be damned.)

The latest in the Disney theme park movie canon, Jungle Cruise, arrives on Friday, and it’s probably not the most encouraging sign that some insiders are already bracing for a less-than-stellar financial return. But Jungle Cruise isn’t so much trying to capture the spirit of the eponymous Disney ride—given that it was recently revamped because of racist caricatures, that’s for the best—as it is trying to ape the multibillion-dollar success story of theme park ride moviemaking: the Pirates of the Caribbean franchise.

When the first Pirates of the Caribbean movie, The Curse of the Black Pearl, was released in 2003, the whole idea of turning an amusement park ride into a blockbuster was ridiculous—especially given Disney’s previous failures in the space. But The Curse of the Black Pearl was a legitimate hit and a swashbuckling adventure so universally admired that Johnny Depp even landed an Oscar nomination. (When you think of performances that get on the Oscars’ radar, Captain Jack Sparrow hardly comes to mind.) The Curse of the Black Pearl was the fourth-highest-grossing movie of the year, and a sequel was inevitable.

Director Gore Verbinski ended up shooting back-to-back sequels, Dead Man’s Chest and At World’s End, to complete a trilogy that broadened the franchise’s fantastical pirate universe—one where, to paraphrase Captain Barbossa, the audience best start believin’ in ghost stories.

Posted by Geoff at 12:01 AM CDT
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Tuesday, July 27, 2021

Episode 5 of TCM's The Plot Thickens: The Devil's Candy (embedded below) focuses on sexism in the Hollywood of 1990, and the women involved in the making of The Bonfire Of The Vanities, both onscreen and off: Melanie Griffith, Ann Roth, Kim Cattrall, Beth Broderick, Aimee Morris, and Monica Goldstein.

Posted by Geoff at 11:03 PM CDT
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Monday, July 26, 2021

At Bloody Disgusting, Daniel Kurland has posted an editorial about Brian De Palma's Blow Out, "Still a Scream 40 Years Later!"
Blow Out is a movie full of contradictions, not unlike conspiracy theories, which actually manage to strengthen the text. The movie contains contrasting tones that compete against each other for supremacy. Blow Out notably begins with its careful exploitation of the audience. The masterful opening POV sequence occasionally has a moody “killer theme” that turns up on the soundtrack during the slasher’s violent acts, which increasingly overpowers the playful party music playing in the dorm unsuspecting students inside have no idea that they’re in danger. Just like how the music does this, the visuals also create this odd dissonance as the audience tries to figure out what’s going on until they finally realize that this introduction is a ruse and part of the artifice that’s inside of Blow Out, rather than Blow Out itself. It’s the first scene in the movie and also the first time in the film that the audience is forced to reckon with this while Blow Out continually toys with what is reality, what is art, and where the two overlap.

It’s all a lie.

To go one step deeper, Garrett Brown, the creator of the Steadicam, was well-practiced with the equipment after his work on The Shining, but this piece in Blow Out is intentionally clumsy because it’s supposed to resemble a low-budget horror movie. It wants to mess with the audience and use the quality of the camerawork to become the first clue that this is actually a movie within the movie. Garrett actually laments that he couldn’t shoot the opening POV sequence properly and was forced to make it look so schlocky, but that’s the magic of this De Palma introduction. It achieves a more technologically advanced and psychologically enriching version of Halloween’s legendary opening sequence and Blow Out’s introduction genuinely helped popularize the use of the Steadicam and showcase its versatility as a filmmaking tool. It’s a sublime pairing between Garrett Brown during the infancy of the Steadicam’s development and Vilmos Zsigmond’s ever-growing talents as a cinematographer.

This illusory artifice that kicks off the movie also bookends Blow Out. Another powerful example of the blurred lines between art and reality is what concludes Jack and Sally’s story. Burke’s assassination plan that takes out Sally is intself based around subterfuge and fabricated panic that’s exactly the type of scheme that conspiracy theorists would develop. On a deeper level, Sally’s screams of terror fail to be heard and she’s unable to receive help because displays of riotous Americana literally drown her out; whether it’s the noise of the fireworks, the public cheering, or the celebratory music. Her corpse basks in the glow of red, white, and blue lights.

The one time that Jack needs to hear Sally’s scream, he can’t, and it’s what costs her her life. It’s devastating, but even harsher of a blow because of Jack’s aural life and how important listening is to him. It’s a horrifying reality about how the dangers of patriotism can strangle America and bury what’s important, which is relevant then, but even more frightening now with how the news and social media can filter out what doesn’t fit their narrative and highlight America’s benign successes. Pro-America messages can overpower what’s really important and strangle the cries for help in a figurative sense, just like Blow Out literally does, and it was made forty years ago.

Brian De Palma gets so many good and chilling performances out of John Lithgow, but his villain in Blow Out, the mysterious Burke (who’s based on G. Gordon Liddy to some degree), is seriously some of the actor’s strongest work. Burke’s appearances here are incredibly brief, but Lithgow makes every second count. Lithgow’s performance as Burke is also a fantastic example of how the weight and intensity behind a villain can mount through their actions, even when they’re not physically being seen on the screen, so that when they finally do show up it’s deeply cathartic. It becomes the satisfying culmination of all of these sinister machinations up until this point. The camera moves with precision during Burke’s calculated murders in contrast to the klutzy maneuvers from “Co-Ed Frenzy.” De Palma uses the language of this cinematography to communicate that Burke is the real deal and someone to worry over.

Burke’s plan is so needlessly more morbid than it needs to be, but this also speaks to its dark brilliance. His target is only Sally, but he proceeds to kill many women who look like her so that her eventual death is misconstrued as the work of a serial killer’s motive instead of a targeted attack. It’s chilling, but also speaks to how complex conspiracies and actions from political terrorists only highlight how little the public really knows. This kind of stuff can happen underneath everyone’s noses with nobody having any idea because of its stealth and invasive nature.

So many De Palma movies about men trying to unsuccessfully save women–perhaps harkening back to De Palma’s own childhood and his sleuthing efforts to videotape his father’s affairs to protect his mother in the process–but Blow Out presents one of the starkest and nihilistic versions of this idea wherein Jack doesn’t only fail to save Sally, but her death and his defeat are forever immortalized on celluloid to entertain millions of audience members. No one can rewind the footage to change Sally’s fate like in “Co-Ed Frenzy.” It’s the grim irony of this theme that recurs throughout De Palma’s works, especially for a filmmaker who so often uses cinema as the ultimate expression of the soul.

This tragic ending comes as such a blow and feels very much representative of the decisions that happen in movies forty years ago versus today. Emotionally, Jack’s final embrace with Sally is a lot to take in, but De Palma also guarantees that it’s just as visually expressive. What follows is one of the most cinematic moments that’s ever been committed to film. The sheer extravagance of the exploding fireworks as Pino Donaggio’s score swells and Travolta loses himself in Jack’s sadness is just a masterpiece. Whether it’s intentional or not, the galaxy of light that’s cast over the dorm room from an illuminated disco ball during Blow Out’s opening scene also works as a visual counterpoint to these fireworks that works as another element that bookends the movie, both through reality and the illusion of cinema.

Greg Cwik, In Review

Let’s talk about De Palma, who thinks in the cinematic language. Think of that rotating shot, the camera looping around as Jack runs around checking his tapes, which have been erased, sounds of film flapping and Jack doing laps like Sisyphus. Think of the split-diopter of Lithgow’s lunatic holding a photograph up as he descends the escalator, of the fish head and the ice pick, the frog and the owl, and the lovers at the bridge. Think of Jack, under the flaming sky of July Fourth fireworks, a patriotic patchwork of red, white, and blue, holding her lifeless body in his arms as the country celebrates its spectacular anniversary.

Despite the obviousness of De Palma’s formal skill, Blow Out was initially greeted with indifference, and didn’t get a boost in credibility until Tarantino praised it (it is now rightfully revered, of course). Notably, it stands out in two ways from his other thrillers. He famously has made small movies for himself and big movies for paychecks; this is a small movie made big by a generous budget (by De Palma’s standards, at least). The extra money meant better sets, car chases through parades, many retakes and reshoots, De Palma taking a month off of shooting to think about the script more. And it’s a tragic film, and the tragedy here comes not from pure spectacle, (though there is that, too) but the fact that we care so much about these characters, these performers; we care about Travolta’s doomed-to-fail sound man and Nancy Allan’s doomed-to-die sylph, and when they hurt, we hurt.

This is a film that begins with a murder and a scream, piteous and irritating, and ends with a murder and a scream, pained, one that reverberates deep in the corridors of the heart. De Palma’s deft manipulations of images and sounds are redoubtable, but much of the film’s pure emotional power comes from Travolta’s performance, the sincerity he brings to this tragic would-be hero who, in solving the mystery, in getting the answers he seeks, ends up in his own personal hell, his greatest failure turned into a throwaway shriek coming from another woman’s mouth.

Jimi Fletcher, VHS Revival

The sound recording sequence is a joy – here we just luxuriate in the art of movie-making. Jack is out by the river, underneath a bridge, recording the natural sounds that he will end up using in the movie – first we hear the sound, then we follow Jack’s mic as it picks up on it, and then we see the source – a frog, a couple having a quiet talk (unlike the chat between the couple in The Conversation, this one’s absolutely harmless), an owl….and something we don’t see the source of – a strange buzzing, winding sound. What the hell is that? We soon find out that it’s Burke pulling and releasing the garrote on his wristband. One of Blow Out‘s main pleasures is giving us little clues and hints that only become truly apparent on a second viewing. It’s not the sort of thing that makes a first watch baffling, just the odd lovely touch that makes further viewings even more satisfying.

This key sequence will be revisited many times throughout the movie – Jack will pore over his recording to try and work out what happened, and we the viewer are granted visual reminders of the action. This is taken a step further when Jack acquires a series of still images of the event, taken by Sally’s opportunist sidekick Manny (a scuzzy Dennis Franz). Jack cuts out the images, photographs them and creates a mini-movie to accompany the sound, and it’s essentially like watching a movie being made before our very eyes. De Palma is a classic visual storyteller, and these sequences showcase that love of craft and creation beautifully.

Throughout Blow Out, De Palma deploys his box of tricks superbly to the plot – in addition to split-screen we have his much-loved use of deep focus, as well as long-takes, 360 degree spin-arounds and back-projection. Like with Dressed to Kill, De Palma’s execution of cinematic technique is so kaleidoscopic it makes most other directors works feel awfully monochrome. The substance and the style of his films complement each other to such flawless degrees that his methods are precisely what makes the drama so dramatic. This isn’t just fancy dressing. This is cinematic style at its absolute peak. There’s also another wonderful score by Pino Donaggio. Okay, so his occasional lapses into what I can only describe as the imagined lost incidental music for some cancelled detective show may sound a little dated now, but the main orchestral and piano themes, especially the ones centred around Sally, are absolutely heartbreaking and truly beautiful.

Adam Nayman on Neo-Noir, Criterion Current

Where film noir gained potency from its distorted yet crystalline reflections of a starkly stratified, economically depressed society—a world of detours down nightmare alleys at nightfall—neonoir applied a carefully filigreed lens of nostalgia, aligning it with the returns to western and gangster-movie forms that served as the foundations of the New Hollywood. The eagerness with which writers seized upon and venerated movies like Robert Altman’s The Long Goodbye (1973) and Roman Polanski’s Chinatown (1974)—one a melancholically modernized Raymond Chandler adaptation, the other a sadistic riff on the author’s knight-errant narratives in which the windmills prove un-tiltable—had as much to do with retrospectively elevating their directors’ underlying inspirations as acknowledging their state-of-the-art craft and state-of-the-union cynicism.

While the Coens probably prefer The Long Goodbye—they quoted it affectionately in both the Chandler-happy The Big Lebowski (1998) and the non-noirish Inside Llewyn Davis (2013)—it’s Chinatown that feels like neonoir’s early-seventies epicenter, an elegant, scarifying return to the primal scene of Los Angeles in the 1930s. The film’s throwback setting and aesthetics barely belied screenwriter Robert Towne’s post-Watergate cautionary fable about the intersection of establishment political power and patriarchal perversion, both monstrously conjoined in John Huston’s businessman Noah Cross and perceived—perceptively but futilely—by Jack Nicholson’s nosy investigator Jake Gittes, who recognizes the older man’s crimes against city and family alike and can do nothing to stop them. As novelist and screenwriter R. D. Heath writes, “instead of vice being the property of outsiders, drifters, slum-dwellers or dead-eyed suburban losers and predators, [in Chinatown] it flows directly from the most respectable man in town, who aims to be even more respectable . . . the future shall venerate Noah Cross’ name and regard him as a founding father.” When Faye Dunaway’s doomed and diminished Evelyn Mulwray—fated to be both Cassandra and Elektra in the movie’s neo-Grecian schema—cries out of her demonic pater “he owns the police,” the actress’s emphasis on the second word is chilling. It evokes how both individuals and institutions can be held as property, and the image of Huston enfolding his wide-eyed, open-mouthed daughter-slash-granddaughter (Belinda Palmer) is as predatory and unsettling as anything in American cinema. It lays bare a hopelessness that doesn’t feel safely contained by the parameters of the story or the screen, as ancient as the forces coursing through a horror movie like William Friedkin’s The Exorcist (1973), an enduring evil loosed once more upon a fallen world.

Arthur Penn’s Night Moves (1975) revolves around a smuggled sculpture that exists on a continuum somewhere between The Exorcist’s excavated Assyrian totem and the Maltese Falcon: a valuable, cursed antique that turns out to be the stuff that nightmares are made of. Like Chinatown, Penn’s film is a neonoir scribbled in indelible ink, with a cloud of encroaching blackness gradually blotting out the sky on both coasts. There’s a determinedly panoramic sprawl to Alan Sharp’s screenplay, which keeps shifting the action back and forth from gleaming, sun-blind Los Angeles—the prowling grounds for Gene Hackman’s hamstrung football-star turned PI Harry Moseby, a laconic brother shamus to Jake Gittes and Philip Marlowe—to a swampy outcropping of the Florida Keys, where a jailbait heiress has absconded to either visit her stepfather or seduce her mothers’ other lovers . . . or both. Incest remains at the level of subtext (“the world is getting smaller, the kids are getting younger, and I’m getting drunk”), but corruption, coercion, and subterfuge ooze from the story’s every pore.

Penn’s chosen style is much slower and more deliberate than Howard Hawks’s serene velocity in The Big Sleep (1946)—and some shots hold long enough to “watch paint dry,” as per Harry’s priceless, tossed-off critique of/stealth encomium to Eric Rohmer—but it cultivates a similar sense of perpetual, in media res confusion, of endlessly unfolding exposition that explains everything except what’s actually going on. A half-decade before Blow Out (1981), Penn wrings a sinister variation on the Zapruder film via footage of a movie-set car crash that suggests not only an act of behind-the-scenes sabotage claiming the life of a supporting character, but, more widely, a booby-trapped reality. The bloody coup de grâce, meanwhile, is delivered by another, larger vehicle, a horrific act of death from above as the MacGuffin disappears beneath the waves, as lost to the ages as the treasure of the Sierra Madre or all those crisp bills scattered to the wind at the end of The Killing (1956).

Both Chinatown and Night Moves make a determined show of trailing off, of punctuating tragic revelations with slippery ellipses, the former through a wobbly tracking shot that loses sight of its subject, the latter in a long view of a damaged boat tracing figure eights along the ocean’s surface into infinity. Without closure, there can be no catharsis, but some of the strongest neonoirs of the early eighties take a less open-ended approach; they lock into place like iron maidens around their hapless protagonists, fine-tuned mechanisms in an era of high-concept studio engineering. It’s telling that Steven Spielberg and George Lucas’s right-hand man Lawrence Kasdan, the cowriter of The Empire Strikes Back (1980) and Raiders of the Lost Ark (1981), was keen to try his hand at another old-school homage, and also that he tried to reinject some of the sexiness that had become neutered in the surrounding blockbuster deluge. In Body Heat (1981)—set, like Night Moves, in Florida mid-heat-wave—William Hurt’s inept lawyer gets warned about “following his dick into a very big hassle.” He ends up in jail for a murder he didn’t commit in lieu of the one he did (a comeuppance copped by the Coens for The Man Who Wasn’t There); meanwhile, confidence woman Kathleen Turner fulfills her high-school-yearbook ambition to “be rich and live in an exotic land.”

Kasdan’s satisfying, putatively progressive girl-on-top scenario deviated significantly from the seventies sacrificial-femme template (and generated reams of academic discourse as a result), while De Palma’s Blow Out ends, much like Chinatown, with the scream of an innocent woman slain on the altar of an upwardly mobile (and spiderily all-encompassing) conspiracy. There will be no forgetting for John Travolta’s soundman, however: his mythic punishment will be to hear her scream over and over, wrecking his own soul on the rocks of the siren’s call; it’s as if De Palma were trying to show Polanski what downbeat really looks like. The one rousing semi-exception to 1981’s roundelay of unhappy endings—a movie with catharsis to burn—is Ivan Passer’s Santa-Barbara-set Cutter’s Way, about a paranoid, disabled Vietnam vet played by John Heard who takes arms against a sea of troubles—and aim at a monstrous, all-consuming local tycoon—by briefly adopting the iconography of the old West. Cutter doesn’t survive his brief, glorious bout of John Wayne cosplay, but his best pal, Bone (Jeff Bridges), shows true grit by pulling the trigger in his stead—a replay of the ending of The Long Goodbye torqued more toward cosmic justice than individual retribution.

Posted by Geoff at 12:01 AM CDT
Updated: Wednesday, July 28, 2021 7:45 AM CDT
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Sunday, July 25, 2021

Charles de Lauzirika shared the above image today on Twitter, with the following caption:
Many years ago, I somehow came into possession of a thick stack of stills and transparencies from Brian De Palma’s BLOW OUT, which marks its 40th anniversary today. Here are a few I just dug up. This superb thriller remains my favorite De Palma. Brilliant filmmaking.

Posted by Geoff at 11:11 PM CDT
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Saturday, July 24, 2021

At The Guardian, Scott Tobias looks back at Brian De Palma's "dazzling 1981 masterpiece," Blow Out, which was released in theaters 40 years ago today:
Brian De Palma’s best movie, Blow Out, opens with scene from a movie-within-a-movie, a Z-grade slasher rip-off called Co-ed Frenzy, from the director of such esteemed films as Blood Bath and Blood Bath 2, Bad Day at Blood Beach and Bordello of Blood. The camerawork mimics the killer POV shots of Black Christmas and Halloween, peeping through the windows of a sex-crazed sorority house before ducking inside, where the action alternates between T&A and stabbings. It finally ends with the umpteenth crude variation on the shower scene in Psycho, and the punchline that takes us out of the movie: the actor has a terrible scream.

Blow Out is about the sound man, Jack Terry (John Travolta), finding a better scream. It’s also about the movies, and about how easily the truth can be manipulated or obscured. Beyond that, it’s about what America had become after a decade where trust in the government was lost to Vietnam and Watergate, and how conspiracies of the powerful could crush ordinary citizens who happened to get in the way. Here was De Palma at the peak of his talent, making a film that’s politically loaded and emotionally operatic, with great technique, visual wit and an arsenal of sly references to other films and historical events. It’s so multi-layered, yet De Palma can make it feel like a magician’s sleight-of-hand.

Look again at that opening sequence. By that point in his career, De Palma could have people convinced that it wasn’t a movie-within-a-movie at all, but another lurid sequence from a director whose Hitchcockian thrillers were full of voyeurism and high-toned exploitation. After all, De Palma had already opened a film with a tracking shot through a girls locker room in Carrie and he had already done a softcore homage to Psycho in Dressed to Kill, which had Angie Dickinson lathering up while we anticipate her early exit. De Palma pulling out of the fake movie with that awful scream is not only a terrific joke, but a primer for the deconstructive trickery of the rest of the film. We’ll need to question everything we see and hear.

Despite garnering some of the best reviews of De Palma’s career, Blow Out tanked when it came out 40 years ago, most likely because audiences found the ending too despairing. Who could guess that juxtaposing the bicentennial celebration with a murder and a cover-up wouldn’t be commercially sound? But the film has lost none of its power over the years, as we’ve sunk deeper and deeper into media manipulation, conspiratorial thinking and a greater opacity among the governing elite and their ultra-wealthy patrons. What is, say, Jeffrey Epstein’s prison suicide but a Brian De Palma film waiting to happen?

True to form, De Palma used the films of the past as the building blocks to construct Blow Out, most directly Blow-Up, the 1966 Michelangelo Antonioni thriller about a fashion photographer who believes he’s captured a murder on a shoot, and Francis Ford Coppola’s The Conversation, itself a play on Blow-Up, only about a surveillance expert who believes he’s captured a murderous political conspiracy on tape. What De Palma did in conceiving his film was simple math: Blow-Up + The Conversation = Blow Out. Or, put another way, Image + Sound = Film.

The sound part comes first. The director of Co-ed Frenzy sends Jack out to get fresh sound effects, so he heads to a Philadelphia park at night with his microphone wand to get some authentic wind noises and the like. He happens to have the recorder on when a Chappaquiddick-like incident happens off in the distance, with a car careening off a bridge and into the creek water below. Jack rescues the young woman inside, Sally (Nancy Allen), and accompanies her to the hospital, where he learns that the driver of the car is a popular governor who could be the next president. One of the governor’s handlers takes him aside: would he mind, for the sake of the deceased’s wife and family, keeping his mouth shut about Sally being in the car?

The image part comes next. By a crazy coincidence, a sleazy photographer (Dennis Frantz) was also in the park and caught the incident on film, which he then sold to a tabloid, which prints the footage frame by frame. Only it’s not a coincidence: the photographer and Sally have been shaking down wealthy two-timers by putting them in a compromising position and asking for cash in exchange for the shots. Meanwhile, Jack makes something like a full-sound Zapruder film by syncing his recording with the printed frames, confirming his suspicion that the car’s tire was shot out before it veered off the bridge. He and Sally now possess knowledge too dangerous for them to have.

From there, Blow Out takes the basic form of the classic 70s political thriller, like The Parallax View or Three Days of the Condor, but De Palma gives the film a florid grandeur that’s far removed from the chilly paranoia of those earlier films. Travolta and Allen are fully invested in characters who develop a romantic bond under duress, and so when the stakes get high and the danger mounts, De Palma’s signature set pieces have a genuine emotional flavor on top of the amplified suspense. The ending seems particularly harsh because we’re so invested in Jack and Sally’s survival, along with the faint hope that justice against the powerful is possible to achieve in America.

Jack gets his scream in the end, but it’s a final, bitter irony that only he knows its source. The sound and images that Jack had once put together to reveal the shocking truth about a supposed accident are now gone, and the most horrific moment of his life is now ADR for a fictional piece of garbage. As a movie about making movies, Blow Out not only pulls the curtain back on how film-making works, but challenges the audience to question the reality of a medium that’s based around an optical illusion. Believe it or not, there are image-makers out there more sinister than Brian De Palma.

Posted by Geoff at 4:19 PM CDT
Updated: Saturday, July 24, 2021 4:28 PM CDT
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