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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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Saturday, September 11, 2021

Posted by Geoff at 3:00 PM CDT
Updated: Sunday, September 12, 2021 12:43 PM CDT
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Friday, September 10, 2021

Jesse Hassenger, Decider
The first shot of The Voyeurs zeroes in on Pippa (Sydney Sweeney), as the camera observes her in the gap of a dressing-room curtain. As she appears to become aware that she’s being watched as she’s undressing, she looks reproachfully toward the audience while pulling the curtain shut. A bit on the nose, perhaps, but in a cinematic landscape so deprived of Brian De Palma-style post-Hitchcockian winking voyeurism, maybe more movies should be aiming to stimulate other body parts besides the boring old heart or brain?

The Voyeurs isn’t just De Palma-esque; it’s a full-on erotic thriller, recalling movies like De Palma’s Body Double and Dressed to Kill, as well as less distinguished titles like 1993’s Sliver, with which it shares a fixation on urban surveillance. Pippa and Thomas (Justice Smith) are a couple who moves into a beautiful new apartment building and become fascinated with another couple, whose lives (sex and otherwise) unfold in full view across the street from them. Pippa becomes significantly more fascinated than Thomas does, though it’s hard to tell if she’s more attracted to amorous (some might say sleazy) photographer Seb (Ben Hardy) or the possibly distressed model Julia (Natasha Liu Bordizzo). Anyway, twists ensue, many of them erotic.

These types of movies have fallen out of fashion, as so many subgenres do—but it’s hard not to read their particular absence as a commentary on the utter sexlessness of so many mainstream movies (*cough* MARVEL *cough*). Despite fewer content restrictions than ever (no one will be checking IDs before you stream the decidedly R-rated Voyeurs on Amazon Prime this weekend), movie studios are cautious about heavily sexualized stories or characters. And there are some signs audiences like it this way, or at least have come to understand it as a standard: Every few months, sometimes even more often, someone goes viral on Twitter for opining how unnecessary it is for any movie to include basically any kind of sex scene. As far as anyone can tell, these tweets are rarely authored by your grandparents. They often seem to come from genuine twentysomethings, perhaps chucking sexuality out with the male gaze that has often informed them.

This possible generation gap may actually be a niche issue amplified by the Very Online, but it’s one that Michael Mohan, the writer-director of The Voyeurs, seems to be aware of nonetheless. Compared to vintage erotic thrillers, Mohan’s movie is striking for focusing on characters who read much younger than typical ‘80s or ‘90s protagonists. Justice Smith and Sydney Sweeney aren’t vastly younger than, say, Kathleen Turner in Body Heat or Melanie Griffith in Body Double, but they read that way thanks to the actors’ past work. Sweeney is known primarily for teenage or teenage-adjacent roles so far; though she often plays characters who are forward or provocative, as she did on Everything Sucks!, the short-lived ‘90s-based coming-of-age dramedy also shepherded by Mohan, she’s mostly kept pace with her real-life age. Smith has played some nominal adults in blockbusters like Jurassic World: Fallen Kingdom and Detective Pikachu, but these are exactly the kind of big-studio projects that are essentially kids’ movies with a few dark moments to placate adults. They barely have romance, let alone any hints of sex.

The movie’s characterization of Pippa and Thomas accentuates their late-Millennial, borderline-Gen-Z vibes. They come across as faintly disbelieving that they belong in a nice Montreal apartment, their romantic banter is dorky and self-deprecating, and they ask Siri about open relationships at brunch. Even their mismatched voices drive home their lack of forceful adultness: There’s a built-in hesitancy to Sweeney’s Drew Barrymore-ish lilt, while Smith’s deeper voice contrasts with his character’s sheepish attitudes (“that’s some good content,” he deadpans about seeing the neighbors across the way having sex). A distance forms between the characters because Pippa is intrigued by the watching-and-watched kink, while Thomas—who seems more squeamish about sex from the jump—blanches. (He’s technically correct about the questionable ethics of Pippa’s behavior—and still comes across as a worrying scold.)

The Voyeurs ultimately pushes further than vague questions of generational comfort with sexuality; it doesn’t really take place in anything resembling the real world, knowingly so (“It just doesn’t feel real,” Pippa says at one point late in the film). But the tension it generates between sexual curiosity and contemporary prudishness gives it some metatexual punch. Mohan and Sweeney place Pippa at the center of that tension. She appears in a concealed state of undress so many times that it almost becomes a running gag, making this the first movie in ages to actually attempt to wring suspense out of when nudity will occur. (Smith mostly stays clothed—both thematically appropriate for his character and somewhat unfair.)

This sounds lascivious, but the movie knows what it’s doing in this regard; it feels equally eager to recall the heyday of Mr. Skin and to be called “horny” on Twitter. If it feels a little like a training-wheel erotic thriller, lacking noirish overtones or the setpiece-heavy dexterity of a great thriller, maybe that’s part of its design. Instead, The Voyeurs remains hyper-fixated on the idea of watching — Pippa’s line of work is ophthalmology, enabling plenty of gnarly eyeball closeups (and the line “I know what the inside of her oculus looks like”) — to the point where the movie feels like a viewer’s guide to itself, easing an unaccustomed audience into its sexy, dangerous world. If it’s all a bit indulgent without a lot of emotional resonance to its more ghoulish twists, well, maybe that’s OK, too. Onanism doesn’t get much play in mainstream movies, either.

G. Allen Johnson, San Francisco Chronicle 
So that’s the setup of this tamer-than-it-should-be thriller, a slow-moving dud until a slam-bang finale that contains a couple of delicious twists. If only the whole movie had been like that.

The director is Michael Mohan, who wrote the pedestrian script and is making his feature debut after working with Sweeney on the Netflix series “Everything Sucks!” His direction is fine; Sweeney, so good in Amazon’s Blumhouse film “Nocturne,” is effective.

But one wonders how a master of truly twisted movies — say, a David Lynch or a Brian De Palma — would have approached “The Voyeurs.” One suspects they would have a bit more fun and taken us further down the moral rabbit hole. And the sex would have been better too.

Ferdosa Abdi, Screen Rant
Sydney Sweeney and Justice Smith star in the saucy, silly, and extremely messed up erotic thriller The Voyeurs, which is perfect for a new generation of fans. Viewers have long been starved of truly absurd, yet sexy erotic thrillers that have an intoxicating blend of attractive people doing stupid and dangerous things for the absolute thrill of it. In The Voyeurs, writer-director Michael Mohan takes all the lessons of the truly wild erotic thrillers of the 1990s and brings them into the modern age. With a dose of Alfred Hitchcock’s Rear Window and Brian De Palma’s Body Double, The Voyeurs perfectly captures all there is to love about the genre.

Malignant review - Charles Bramesco, The Guardian
In an interview with IGN, [James] Wan expressed a desire to work at a more intimate scale between blockbuster studio gigs, something in line with “the kind of films that excited me when I was much younger, when I was a teen growing up, idolizing film-makers like De Palma, Argento, and all that”. Those influences, De Palma’s twisted Sisters in particular, make themselves known in this winningly demented second-act stretch up to the acrobatic finale. (The Argento name-check boils down to the copious closeups of black-gloved hands wielding a medical award modified to serve as a dagger, a splendid and original signature weapon.) Maybe there’s something to be said for the surprise factor of such a sudden, palpable change in the film’s atmosphere. In practice, however, it feels like Wan’s being stingy with the livelier mayhem he’s evidently capable of unleashing. He can access a spectacular cinematic evil lying dormant inside him, so he ought to take a cue from his own story and let it be free before it can eat through the back of his skull.


Not a review, but a summary of James Wan's discussion about Malignant, posted back in July by Mary Beth McAndrews at Film School Rejects

The Malignant trailer is full of imagery that harkens back to the work of Argento and other giallo directors. Giallo is a subgenre of horror that saw its golden age in the 1970s. These films, such as Tenebrae and Bay of Blood, are crime-thrillers full of gruesome deaths, red lighting, leather gloves, and an amateur detective who must get to the bottom of the mystery.

Wan directly references Argento’s Opera, explaining that this film “really has shades of all those ’80s and sometimes ’70s of more violent and visceral thrillers.”

Giallo is an aesthetically stunning genre, and the use of lighting and space in the Malignant trailer reveals James Wan’s respect for that period of horror history. Gabriel, the film’s villain, is shown decked out in black, the staple outfit for any giallo killer. Red light bathes every frame, and the film’s protagonist embodies the ethos of the giallo main character who is thrust into violence seemingly by chance until they realize the depth of the crimes at hand.

In defining the film himself, Wan says, “It’s horror, but it’s also a traditional thriller. It’s psychological, it’s serial killer, but it’s also potentially a monster movie.” While the trailer does reveal a giallo-inspired film, Wan also explains how this film draws on De Palma’s Dressed to Kill and Raising Cain to create something “in the vein of (De Palma’s) most outrageous whodunit vision.”

This is not just a typical possession film. This is something darker and sexier than his previous films, pulling from a grittier side of horror history.

He also explains the plot of Malignant as the horror version of a certain Disney animated feature, as the story revolves around two sisters trying to figure out a series of murders. Specifically, he says, “There’s a horror version of Frozen in that there is some of that sisterly camaraderie, but with a lot of crazy shit that happens around them.”

Posted by Geoff at 12:01 AM CDT
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Thursday, September 9, 2021

The first figure we see in Brian De Palma's 1968 counterculture comedy Greetings is that of Jonathan Warden. We see his back as the camera follows him down a New York street, and the theme songs plays against the sounds of the city.

Jonathan Warden's birthname was Ernesto Ciccarelli Jr., although when he was doing theater work in the early 1960s, he was known as Chic Ciccarelli. According to an obituary at Tribute Archive, Ciccarelli, who was born in Staten Island, New York on June 18th, 1937, "passed away peacefully at home in West Palm Beach, Florida on March 17th, 2021." He was 83.

A tribute at Empty Mirror Books suggests that Ciccarelli took his film acting name from two stage plays he'd worked on:

'Chi' Osceola

Christened as Ernest Ciccarelli
in Staten Island, N.Y.
during the period of Guernica.

Chi Ciccarelli emerged as an Equity member,
with the Living Theatre whose demise was caused
by too much relevance in an irreverant land.

Reborn as Chi Osceola after
living on the Seminole reservation.

his many enticing performances
Chi played the warden in The Brig
presented by Julian Beck.

as an actor was a film called Greetings
with Robert De Niro, directed by Brian di Palma.
As an actor Chi used the name Jonathan Warden
Jonathan from Oh, Dad, Poor Dad,
and Warden from The Brig.

Chi was with the Becks he was
the macrobiotic chef at
The Paradox on East 7th Street
when he was with the
N.Y. Poets' Theater on St. Marks with
Dianne di Prima & Leroi Jones (Amri Baraka).

In a 1965 memoir by Judith Malina titled Directing the Brig, Malina writes:
Moving with unaccustomed solemnity we learned to share the sense of the ordeal that the Marines felt at Fuji Brig, and that is everywhere felt in the schools of submission, in the fraternities of exclusion, in the clubs of the oppressors.

Drill was taught according to Marine Corps tactics. Chic Ciccarelli, who played the Brig Warden, was a former Marine, and remembered with touching and terrible closeness the cold, hard exhilaration of the drill. Before each rehearsal the company drilled half an hour, after the lunch break, another half hour. We cleared the lobby of The Living Theatre, and there on the tile floors we marched endless hours. Startled ticket buyers often entered in the middle of a drill master's angry scolding. It was not the polite tone of a theatrical director discussing the character with the actor, it was Ciccarelli screaming, "Get your head up, you lousy maggot!"

The drill however had an enlivening effect. The marching is a ritual of great beauty only grown hideous because it stands for the marches towards the fields of death in battle and because it has come to signify the loss of character that ensues when all of life becomes routed into this exactitude. And because you cannot stop, Meanwhile the rhythm of mutuality entices the kinetic senses. The sense of moving in a mutual rhythm with one's fellow man.

(Thanks to Bill!)

Posted by Geoff at 12:01 AM CDT
Updated: Friday, September 10, 2021 12:15 AM CDT
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Wednesday, September 8, 2021

Posted by Geoff at 11:58 PM CDT
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Tuesday, September 7, 2021

At Neon Splatter last week, Ursula Muñoz-Schaefer wrote about Brian De Palma's Sisters in an "Added To Watchlist" column:
If you spend any amount of time online, you’ve probably engaged in — or, at the very least, come across — conversations about the supposed politicization of popular media. Whether it be meddling right-wingers or snooty leftists, everyone seems to be under the impression that, for better or worse, genre films have evolved to reflect the increasing awareness of environmental issues, economic inequality, and race and gender politics that characterize our turbulent times. The horror genre in particular has become the target of much discussion between recent remakes of existing IP such as this year’s CANDYMAN and last year’s THE INVISIBLE MAN, the widespread acclaim of diverse new creators like Jordan Peele, and the wave of less successful knockoffs his films seem to be inspiring. Although many of these themes have certainly become increasingly overt in recent years, horror media has always been rife with blistering social critique, and the 1970s were proof of that. Brian De Palma’s psychosexual horror-thriller SISTERS is proof of that too.

Released in 1972, four years prior to his meteoric success with CARRIE, SISTERS remains a somewhat underrated gem in De Palma’s filmography, which also includes SCARFACE, BLOW OUT, PHANTOM OF THE PARADISE, and the first MISSION: IMPOSSIBLE among its many hits. Taking place in Staten Island, the movie follows a woman who attempts to investigate a murder case that goes ignored by the police. Suspecting her neighbor of the crime, she falls into a tangled web of dark secrets concerning said woman’s medical history and her caustic relationship to a mysterious twin.

There are several reasons De Palma’s fourth-most-popular horror scratches an itch few films can satisfy for me. For starters, its social implications feel as relevant as ever. Spoiling as little as possible, the man (Lisle Wilson) whose murder our protagonist Grace (Jennifer Salt) witnesses, is black. A hard-hitting journalist who’d previously written about corruption in the local police force, her claims are brushed aside by the detective who does not make an attempt to properly search the neighbor’s apartment for a body. He constantly belittles Grace and threatens to have her arrested for petty charges if she doesn’t lay off. The man’s race is brought up many times over the course of the film, with Grace implying that the police are racist for not taking the murder seriously and instead siding with the white woman (Margot Kidder) she accused of deadly assault.

Unbeknownst to the other characters, said white woman, Danielle, suffers from an undisclosed psychiatric illness, and lives under the medical and emotional care of her controlling husband, Emil (William Finley). Like in Alfred Hitchcock’s PSYCHO, the initial murder victim is followed closely during the film’s first act, which establishes him as a decent man unfazed by the microaggressions he undergoes in his day-to-day life until he is brutally killed off. As the story progresses, it becomes clear that the characters are being failed by what the film portrays as oppressive social and structural forces meant to protect them — resulting in a domino effect with catastrophic consequences.

SISTERS is also just a treat for movie and history buffs. As a big Hitchcock junkie, there are few things I love more than a good modern retelling of his work, from MANHATTAN MURDER MYSTERY (1993) to STOKER (2013). SISTERS is unique in that it pays homage to the revolutionary narrative and audiovisual techniques from the Master of Suspense’s entire career through obvious references to scenes from his most iconic films.

Read the rest at Neon Splatter.

Posted by Geoff at 11:50 PM CDT
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Monday, September 6, 2021

"We take on Brian De Palma in this week’s episode of Through the Booth Window," Caitlin Stow posted on Instagram a few days ago. "I watched ELEVEN De Palma films to prepare for this and I gotta say I don’t regret a second of it…well, except for the seconds spent watching Redacted…but other than that! Available wherever pods are podding."

Stow's co-host, Joey Bauer, mistakenly tells special guest Craig Leman that De Palma has never written any of the screenplays to his movies, so you can see right away that while their discussion of De Palma's films seems thoughtful and intelligent, it is not exactly fully-informed, nor well-researched. Here's the episode description:

Brian De Palma has been called a genius and a hack, but you can't deny that he makes a memorable film. This week, joined by special guest Craig Leman, we dig into De Palma's filmography to talk about his sleazy atmospheres, signature visual style, and confounding depiction of women.

Spoiled in this episode: Blow Out, Dressed to Kill, Body Double, Redacted.

Posted by Geoff at 11:29 PM CDT
Updated: Tuesday, September 7, 2021 8:13 AM CDT
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Sunday, September 5, 2021

As Quentin Tarantino's first novel is published, GQ's John Phipps has a profile piece in which some other QT writings are mentioned:
Once Upon A Time In Hollywood is, at its heart, a book about the sadness and excitement of expectation: Sharon Tate, the next-big-thing actor with her unborn child; Aldo Ray, a washed-up alcoholic with his own kind of dignity; even Manson feels more like a relatable kind of loser, trying to make it big as a hippie folk singer, than the electromagnetic pulse powering a murderous sex-and-bullshit cult. At one point the book quotes the film critic Pauline Kael: “In Hollywood you can die of encouragement.”

It’s the losers, I think, who have Tarantino’s heart. Maybe that’s why [Cliff] Booth’s education in cinema feels so real. “I think it’s the solitary experience he ends up liking,” says Tarantino, turning reflective. “Which, actually, is kind of interesting. I hadn’t thought about it before – but that was, for the most part, you know, me. From, like, 14 to 22 or 23, I saw so many movies. But it was rare, unless the movie was a huge hit, that I saw something other kids in school saw or my family saw. For the most part, I’m seeing a whole lot of movies and I’ve never talked to anybody about them.”

The man GQ is speaking to today sounds blissfully happy, revelling in the joys of new parenthood. (He says he does bath time, but not nappies.) It’s been a slow growth towards contentment from the “piss and vinegar”.

“I think that’s the goal,” he says, laughing, “and most of us more or less achieve it.” But the young Tarantino was alone in his obsession. “It was a completely solitary experience. Whatever I felt about it, and however much I liked it, it was unexpressed.”

After that electric loneliness in the dark theatre, Tarantino would cut out magazine clips from his favourite music and movie critics and stick them into organised scrapbooks. “So I’d have my Pauline Kael books, my Stanley Kauffmann book, my Michael Ventura book.” Kael remains a guiding light. He not only owns all her books, but he also buys every different edition he sees. Fans have long wondered if Tarantino would ever get round to some of the projects he’s teased: a movie about the Vega brothers; a Silver Surfer film; a third Kill Bill. There are a few ideas today – the most surprising being that he’d like to write a novelisation of someone else’s movie – but the great forthcoming Tarantino work, for my money, will be a book of film reviews, slated for release in the next few years. Who wouldn’t want to read that?

Beyond that, there are big books of essays that he has been adding to for decades and which he can never seem to finish, on the work of filmmakers such as Brian De Palma, Sergio Corbucci, Don Siegel and Robert Aldrich. “I don’t think I’ll finish them,” he says, laughing. “They’re sitting un-typed in a drawer.” He has other plans – not settled yet, but vague, floating enticements that might grab him. He says he can see himself doing a novelisation of True Romance or Reservoir Dogs. What about – it seems so obvious – making Pulp Fiction into pulp fiction? A pause. “Nah, that doesn’t interest me.”

The answer is immediate. Because he knows instinctively, by this point, how to listen to his instincts, the ones that took him to where he is today. Before the mountain of paper, the one-handed typing, the rewrites and edits and inevitable accommodations with practicality, every project starts with an idea, an interior excitement, something he’s wanted to do for a long time, something that sparks the same sense of momentum he felt as a young guy adding dialogue to other people’s movies – that pregnant sense of direction and certainty. So he sits down to write. Very quickly, almost immediately, he knows if he’s on to something.

“I know within the first couple of scenes: I’m gonna finish this. This is it. This is the next one I’m doing. I started doing it and I was right.”

Posted by Geoff at 11:42 AM CDT
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Sunday, August 29, 2021

On the latest episode of I Know Movies And You Don't, host Kyle Bruehl is joined by Ben McGinley and Galen Howard "to discuss Brian De Palma's unnerving and stylish ode to Alfred Hitchcock, the spiral into horror voyeurism, racial subtext, and female gaslighting in Sisters."

Posted by Geoff at 6:40 PM CDT
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Saturday, August 28, 2021

Posted by Geoff at 5:14 PM CDT
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Friday, August 27, 2021

After opening in New York City in early August of 1976, Brian De Palma's Obsession began to open in more cities in the weeks that followed. In Chicago, Obsession opened 45 years ago this weekend, and Roger Ebert's 3-star review was published in the August 27, 1976 edition of the Chicago Sun-Times - it's archived now at RogerEbert.com:
Brian De Palma's "Obsession" is an overwrought melodrama, and that's what I like best about it. There's no doing this sort of thing halfway, and De Palma knows it: We get gloomy vistas down wet Italian streets, and characters running toward each other in slow motion, and low-angle shots of tombs, and romantic music breaking suddenly into discordant warnings, and -- best of all -- a surprise ending which manages at the same time to be totally implausible and totally satisfying.

The movie opens in New Orleans at a party celebrating a 10th wedding anniversary: Michael and Elizabeth Courtland are still deeply in love, so right away we know they're in trouble. A butler moves through the room with drinks on a tray, and as he walks toward the camera his jacket hitches up and we get a huge close-up of a gun tucked into his belt. There's ominous music on the soundtrack and no wonder -- Michael's wife and daughter are about to be kidnapped.

A ransom note demands $500,000, but Courtland allows himself to be talked into a harebrained scheme by the police. They spike the money with a little radio transmitter and follow the signals back to the house where the kidnappers are holed up. There's a confused escape, the police chase the getaway car, it crashes into a gasoline truck and in the resulting explosion, the wife and daughter are killed. At least that's what Michael Courtland believes for 18 long years, during which he erects an enormous monument in an otherwise empty cemetery.

But then, during a business trip to Italy, he visits the church in Florence where he first met his wife. And there on a scaffold, mixing some paint and helping with a restoration project, is his wife! She looks exactly the same as she did 18 years ago. There is a courtship, a romance, plans for marriage and a return to New Orleans. And then Paul Schrader's screenplay starts a series of incredible double-reverses and shocking revelations, which of course it wouldn't be fair for me to reveal.

The ending, as I've suggested, is totally implausible -- we can think of at least a dozen questions in the last five minutes alone -- but who cares? De Palma and Schrader, and Bernard Herrmann with his beautifully overdone music, and Cliff Robertson and Genevieve Bujold with their mutual obsession, are all playing this material as broadly as possible. This is a 1940s melodrama out of the CBS Radio Mystery Theater by way of a gothic novel. If you want realism, go to another movie.

Material like this needs a certain tone, and De Palma finds it. He starts with two of the most romantically decadent cities on earth (New Orleans and Florence - although Venice would have been better), and then he lets his sound track drip with portentous music and his characters roam through deserted and vaguely menacing locations. The photography, by Vilmos Zsigmond, is darkly, richly sinister: as two men sit talking in a Florentine cafe, the camera changes focus as it sweeps from one to the other so that we're forced to look beyond them into a square and wonder who we'll see there.

Robertson's first visit to the church, in which the camera's deep focus makes him seem to climb those stairs forever, is another nicely disturbing visual moment. And, in a movie that owes a lot to the Hitchcock style, there are a few well-chosen exact quotations from the Master (as when Genevieve Bujold tells the housekeeper: "There's a door upstairs that's locked. Where is the key?" And then . . . well, You know how these things develop.)

The movie's been criticized as implausible and unsubtle, but that's exactly missing the point. Of course the ending is out of a lurid novel, and of course the music edges toward hysteria, and of course Robertson goes from mad to worse (wouldn't you, if you saw a ghost?). I don't just like movies like this; I relish them. Sometimes overwrought excess can be its own reward. If "Obsession" had been even a little more subtle, had made even a little more sense on some boring logical plane, it wouldn't have worked at all.

Posted by Geoff at 8:05 PM CDT
Updated: Friday, August 27, 2021 8:06 PM CDT
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