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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

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of the 7th Art

The De Palma Touch

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Carrie...A Fan's Site


No Harm In Charm

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The Master Of Suspense

Alfred Hitchcock Films

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a la Mod

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and the Infield
Fly Rule

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Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

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(Blow Out)

Carrie: The Movie

Deborah Shelton
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De Palma a la Mod

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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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Friday, April 7, 2023

Also, see post from @wereallylikeher.

Posted by Geoff at 12:22 AM CDT
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Thursday, April 6, 2023

Posted by Geoff at 12:32 AM CDT
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Wednesday, April 5, 2023

I haven't seen Ben Affleck's Air yet, but several mentions have been made about the film's use of Pino Donaggio's "Telescope" from Body Double. "Air is a joy," tweets Paul Ridd. "A dryly funny, breezily cynical film about business strategy and the power of personality and persuasion. Loved the retro styling and music, particularly the strategic deployment of Donaggio’s ‘Telescope’ from Body Double + Tangerine Dream’s Risky Business score."

Brett tweets, "Air is the last movie I expected to feature the most iconic bit of Pino Donaggio’s score for Body Double, one of my very favorite pieces of music movie ever, for the shoe reveal." And in a review posted today at JoBlo, Chris Bumbray concludes, "All in all, Air really is a terrific package, with Affleck having a ton of fun telling this story. It definitely has one of the best soundtracks of the year, with the needle drops running the gamut from Bruce Springsteen to 'Axel F'. Affleck even repurposes Pino Donaggio’s main theme to Brian De Palma’s Body Double to complement the Tangerine Dream music. It’s a nice touch in a movie that’s full of them."

Film Music Reporter has the lowdown:

The full list of music cues featured in Ben Affleck’s biographical drama Air has been revealed. While the film doesn’t have a credited composer, Paul Haslinger (Underworld, Halt and Catch Fire, Resident Evil: The Final Chapter) appears to have contributed a few original music cues, credited in the end titles as I Want to Sign Him and Sneaker AnthemRunning Out of Tim. The movie also features tracks from multiple 80s scores by the German electronic music group Tangerine Dream (which Haslinger was a member of in the late 80s), including Running Out of Time & Through the Dark/Run Across the Street from Miracle Mile, Shop Territory from Firestarter, Jerry’s Decision [Ed. note: a comment at that site states this is not a Tangerine Dream track] & To the Head of the Class from Three O’Clock High, Love on a Real Train from Risky Business and Breathing the Night Away from Heartbreakers. Harold Faltermeyer’s music from Beverly Hills Cop and its first sequel makes an appearance in a couple of scenes. Other score cues featured in the movie include Leave Atlantic City from Desperately Seeking Susan (by Thomas Newman), JP Brenner Emerges from Raw Deal (by Christopher Boardman), Votes for Women from Suffragette (by Alexandre Desplat), Closing from The Times of Harvey Milk (by Mark Isham), The Girl from Flinch (by Miami Nights 1984) and a track from Pino Donaggio’s score from Brian De Palma’s Body Double.

Andrea von Foerster serves as the music supervisor of the movie, which also features numerous 80s hit songs, including Money for Nothing by Dire Straits, My Adidas by Run DMC, Legs by ZZ Top, Sister Christian by Night Ranger, Ain’t Nobody by Rufus & Chaka Khan, All I Need Is a Miracle by Mike + The Mechanics, Time After Time by Cyndi Lauper and Born in the U.S.A. by Bruce Springsteen. Air starring Matt Damon, Affleck, Jason Bateman, Viola Davis, Chris Messina, Chris Tucker, Marlon Wayans, Matthew Maher, Jay Mohr, Julius Tennon centers on the game-changing partnership between a then rookie Michael Jordan and Nike’s fledgling basketball division. The drama will be released in theaters nationwide on April 5 by MGM/Amazon Studios.

Baena had Donaggio's Body Double score "in the back of my mind", thrilled to work with composer on Spin Me Round

Posted by Geoff at 11:36 PM CDT
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Tuesday, April 4, 2023

Roger Ebert passed away ten years ago today - here's an excerpt from Ebert's 4-star review of Femme Fatale from November of 2002:
Sly as a snake, Brian De Palma's "Femme Fatale" is a sexy thriller that coils back on itself in seductive deception. This is pure filmmaking, elegant and slippery. I haven't had as much fun second-guessing a movie since "Mulholland Drive." Consider such clues as the overflowing aquarium, the shirt still stained with blood after many days, the subtitles for dialogue that is not spoken, the story that begins in 2001 and then boldly announces: "seven years later." The movie opens with a $10 million diamond theft, with a difference: The diamonds adorn the body of a supermodel attending a premiere at the Cannes International Film Festival, and they are stolen with erotic audacity as the model is seduced in a restroom of the Palais du Cinema by the tall, brazen Laure Ash (Rebecca Romijn-Stamos). Her team includes the usual crew of heist-movie types, and we get the usual details, like the guy in the wet suit, the laser-cutter and the TV spycam that attracts the attention of an inquisitive cat. But the movie announces its originality when none of these characters perform as they expect to, and Laure Ash steals the diamonds not only from the model but also from her fellow criminals.

No, I have not given away too much. The fact is, I have given away less than nothing, as you will fully appreciate after seeing the film. The long opening sequences, about 40 minutes by my clock, are done almost entirely without dialogue, and as De Palma's camera regards these characters in their devious movements, we begin to get the idea: This is a movie about watching and being watched, about seeing and not knowing what you see.

Romijn-Stamos plays Laure Ash as a supremely self-confident woman with a well-developed sense of life's ironies. Chance plays a huge role in her fate. Consider that not long after the theft, while trying to avoid being spotted in Paris, she is mistaken for a grieving widow, taken home from a funeral, and finds herself in possession of an airplane ticket to New York and a passport with a photo that looks exactly like her. And then ...

But no. I cannot tell any more. I will, however, describe her relationship with Nicolas Bardo (Antonio Banderas), a paparazzo who photographs her in 2001 on that day she is mistaken for the widow, and photographs her again seven years later (!) when she returns to Paris as the wife of the American ambassador (Peter Coyote). She wants that film: "I have a past here." And then ...

Well, the movie's story, written by De Palma, is a series of incidents that would not be out of place in an ordinary thriller, but here achieve a kind of transcendence, since they are what they seem, and more than they seem, and less than they seem. The movie tricks us, but not unfairly, and for the attentive viewer there are markers along the way to suggest what De Palma is up to.

Above all, he is up to an exercise in superb style and craftsmanship. The movie is very light on dialogue, and many of the words that are spoken come across as if the characters are imitating movie actors (the film opens with Laure watching "Double Indemnity"--for pointers in how to be a vixen, no doubt). I've seen the movie twice; it's one of those films like "Memento" that plays differently the second time. Only on the second viewing did I spot the sly moment when the subtitles supply standard thriller dialogue--but the lips of the actors are not moving. This is a movie joke worthy of Luis Bunuel.

Posted by Geoff at 11:47 PM CDT
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Monday, April 3, 2023

Peet Gelderblom's feature film debut, When Forever Dies, is now streaming, available to rent or buy via Vimeo or Eye Film. "I’ve written and directed a feature-length archival fiction that took me two years to make," states Gelderblom. "Plundering from the mighty Eye Filmmuseum archive, it takes bits and pieces of 125 years of cinema - be it orphaned reels, obscure advertising or half-forgotten classics - and somehow weaves together a story of its own, bridging many genres. This film traveled from The Netherlands to Istanbul and from Tokyo to Mexico, the pandemic notwithstanding, selected by festivals as prestigious as Thessaloniki and Il Cinema Ritrovato." The film also won the Audience Award at Cineautopsia. Visit the official website at www.whenforeverdies.com. To go along with the new streaming options, the film has a new trailer:


Posted by Geoff at 11:33 PM CDT
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Sunday, April 2, 2023

Ryuichi Sakamoto, who composed the scores for Snake Eyes and Femme Fatale, died March 28 at 71, according to The Washington Post's Tim Greiving. "The death, from cancer, was announced on his website," Greiving continues, "but no further details were immediately available. He had been treated for throat cancer in 2014 and rectal cancer in 2021, and he announced in 2022 he had been diagnosed with Stage 4 of an unspecified form of cancer."

Greiving's article describes Sakamoto as "an eclectic Japanese composer who was an early leader in electronic pop music and became an acclaimed composer of film scores — notably Merry Christmas, Mr. Lawrence and the Oscar-winning The Last Emperor — that blended Eastern and Western cultural influences."

In the Snake Eyes section of the book Brian De Palma - Interviews with Samuel Blumenfeld and Laurent Vachaud (an English translation of which is set to be published this year by Sticking Place Books), De Palma discusses working with Sakamoto:

You worked with Ryuichi Sakamoto on the music for Snake Eyes. Did you discover him during Merry Christmas, Mr. Lawrence by Nagisa Ōshima?

No. It was his score for Bertolucci's Little Buddha that seduced me, I listened to it non-stop at the time. I have all his film scores at home, he did some wonderful things. He's a very imaginative guy, who works very hard. In addition, his base in New York is really close to my home. Like most composers today, Sakamoto composes everything on the computer. You go see him, and he plays the music for you, right on the computer. In the old days, you could never listen to the score before recording in the studio, especially with Bernard Herrmann, who did not let you hear anything beforehand. Today, when you enter the studio, you already know the music by heart.

Why did you use a pop song during the end credits?

I wanted this ending to bring us back to today's world, as the shot is very long, it lent itself well to a song. And then, like at the end of Casualties Of War, I wanted to suggest that after having lived through hell, the hero has redeemed himself, he has paid the price... and life goes on.

But the lyrics of the song really speak to the story of the film.

That's right, but the tone of the song is much less dark than Sakamoto's music. Through her instrumentation, she brings something very rock, very contemporary into the film, it's like a breath of fresh air. It was ideal for the ending, since it is the only daytime exterior shot of the entire film. We had to loosen it up a bit.

De Palma talks a bit more about working with Sakamoto in the Femme Fatale section of the Blumenfeld/Vachaud book (the images after the excerpt below are taken from Laurent Bouzereau's documentary footage on the Femme Fatale DVD) -

The scene of the theft of the jewels at the Cannes Film Festival is one of the most jubilant that you have filmed.

Yes, it took us three nights to block it. I had a very good steadycam operator on the film, but to get this sequence to shoot so quickly, I had to call in my favorite technician, Larry McConkey, who I brought over from the United States just for that. . I wanted this sequence to feel like a movie like Mission: Impossible, so that the break in your tone would only be greater when she meets her double and another movie begins. This eclecticism is reflected in the soundtrack.

The credits use music by Miklos Rosza for Double Indemnity by Billy Wilder, which Laure watches on television; then there is this piece by Ryuichi Sakamoto which accompanies the theft of the jewels, interrupted from time to time by the music of Patrick Doyle for Est-Ouest by Régis Wargnier, which is projected in the Palace, then there is the song by Elli Medeiros that the two girls listen to when they fuck in the toilets, and there is even the intro by Saint-Saens, taken from The Carnival of the Animals, which is the anthem of the Cannes Film Festival. Sakamoto's music for the scene that takes place in Cannes is very subtly different from Ravel's Bolero. Originally, Laure listened to the Boléro on her walkman. And Sakamoto had composed a long piece like Mission: Impossible to accompany the theft of the jewels and all the parallel actions. It was a huge job that took him months, and I was very annoyed when I told him it wasn't working. The scene speaks of a seduction, it's an erotic climate, the theft of diamonds is secondary, so that's not what the music should reflect. It's me who offered to try the Bolero that we placed as is on the images. And it worked right away. So I asked Sakamoto to compose a variation. For two reasons: that it sticks perfectly to the images and also to show that I'm going to take you somewhere else. And Sakamoto did a superb job. It's a very long piece, more than ten minutes, that you have to listen to in its entirety to grasp all its subtlety. I reused it for the end credits because I thought it was a shame to interrupt it suddenly during the scene where the jewels were stolen.

The music cuts off abruptly when the current jumps in the Palace.

Exactly. A director's worst nightmare. A power failure during the projection of your film. I had witnessed a similar incident during the presentation of Jean-Jacques Beineix's film Mortal Transfer at the Vienna festival. In the second reel! The blackout.

Sakamoto had already worked with you on Snake Eyes. He was immediately the composer you wanted for Femme Fatale?

No, initially I wanted Éric Serra, but he was already hired to compose the music for John McTiernan's Rollerball. Yet he really wanted to do it and I would have loved to have him, but I knew he couldn't do both. Then I went to see Patrick Doyle, who liked the film but couldn't compose the music in the time allowed, because he was recovering from a serious illness. The amount of work to be done was really enormous. So I was lucky that Sakamoto was available. He worked hard for four months. The fact that we know each other and have worked together has certainly helped because, for a composer who meets me for the first time, I can be a little off-putting. I demand a lot from them.

Posted by Geoff at 10:16 PM CDT
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Saturday, April 1, 2023

Posted by Geoff at 6:04 PM CDT
Updated: Saturday, April 1, 2023 6:13 PM CDT
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Friday, March 31, 2023

Posted by Geoff at 12:01 AM CDT
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Thursday, March 30, 2023

"Though it’s a contentious subject," begins MovieFinatics in a "Director Series" post ranking the blogger's top ten Brian De Palma films, "I believe mainly in the auteur theory – which is a way of looking at cinema with the director as the 'author' of this work. It’s controversial because the film is one of the most notorious collaborative exercises one can get involved in. I don’t think the auteur theory disses the idea that cinema isn’t cooperative. Instead, it’s a theory that argues that a film reflects the director’s artistic vision. A movie directed by a particular filmmaker will have recognizable, recurring themes and visual cues that inform the audience who the director is. The French New Wave movement in the 60s popularized this. When you think of auteur theory, the number one director that comes to mind is Alfred Hitchcock, who the French New Wave and the Cahiers critics heavily championed. The career of Alfred Hitchcock had a significant impact on filmmaker Brian De Palma, who emerged out of the anti-war 60s with other New Hollywood figures like Steven Spielberg, Martin Scorsese, Francis Ford Coppola, George Lucas, and Paul Schrader. These filmmakers were the first generation to go to film school and study film. They would go on to redefine Hollywood cinema. Of all those filmmakers, perhaps the most underrated impact has to do with De Palma."

With that, the post delves into some background of the critical response to De Palma's work, and some of the director's themes and techniques, before a ranking of the blogger's top ten choices.

Posted by Geoff at 12:01 AM CDT
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Wednesday, March 29, 2023

I happened upon this intriguing essay from December of 2017, about Brian De Palma's Passion, at Film Fest Gent. Here's an English translation from Dutch, with help from Google Translate:
The fact that Brian De Palma in 'Passion' not only beckons Hitchcock but also Fritz Lang, is of course primarily due to the basic intrigue he borrowed from 'Crime d'amour' (2010), the ultimate film by the French director Alain Corneau. Corneau's admiration for Lang was already apparent in one of his first films, 'Police Python 357' (1976): a gloomy police officer driven by a Langian destiny mechanism. In it, the cop on duty (Yves Montand) conducts an investigation that must inevitably lead to his own indictment of a murder that he did not commit.

In both 'Crime d'amour' and 'Passion' there is a plot twist that also formed the premise for Lang's last American thriller, 'Beyond a Reasonable Doubt' (1956). In it, the protagonist himself fabricates the burden of proof against himself in the hope of exonerating himself with a coup de théâtre. De Palma is of course more Hitchcockian than Langian and his free remake of a French film is therefore based on Hitchcock's favorite motif of deduplication, which in 'Vertigo' (1958) was pushed to the extreme - abstract and quasi-geometrical.

'Passion' largely takes place in a Berlin advertising agency where three young she-wolves are at each other's throats, initially in a quasi-civilized way, but becoming increasingly predatory and aggressive. Women who differ greatly in ranking in the company but are completely interchangeable when it comes to gluttony, desire and greed. Initially everything revolves around the power games between blonde bitch Christine (Rachel McAdams) and her seemingly innocent, dark-haired protégée Isabelle (Noomi Rapace) to whom she gives an expensive scarf as a gift but also steals her ideas at the same time, which Isabelle hits back at. Isabelle, in turn, also has an assistant (Karoline Herfuth) who does not go unnoticed and eventually gets a bigger role in the plot twists than her initial screen time suggests.

Power, eros, humiliation and sadomasochistic strategies in the executive suite have been widely covered in Hollywood, from forties melodramas with Joan Crawford and Barbara Stanwyck to the controversial Demi Moore vehicle 'Disclosure' (1994). The environment in which the clever ladies from 'Passion' maneuver was certainly not chosen by chance: the most critical American director of his generation sees the advertising agency as the quintessence of neo-capitalist lust for power where the desire to dominate the other and thus also the taking over the identity and body of the other, takes extreme forms until one woman Persona-like transitions into the other.

Here, De Palma also makes maximum use of the shiny, reflective and transparent architecture and dynamism of the new Berlin, where an artificial high-tech visual delusion has been created on the ruins of a guilty and criminal past of double dictatorships (the filming locations are mainly situated in the former East -Berlin and the former no man's land between east and west: Frank Gehry's DZ bank, Helmut Jahn's Sony Center and the eerie-looking new building in the residential embassy district).

Above all, De Palma amuses himself with his mise en abîme of a world of visual constructions. For decades, De Palma has portrayed our world as an arena of screens in his films. In this new Berlin, the multiplication of screens as Lang prophetically announced them in the 'Dr. Mabuse' films that appear in the three periods of his German career (the silent film 'Dr. Mabuse der Spieler uit' 1921-1922; the sound film 'Das Testament des Dr. Mabuse' from 1932; the post-Hollywood film 'Die tausend Augen des Dr. Mabuse' from 1960), became reality. Everywhere there are cameras set up, there are indiscreet glances, people are spied on, recorded, eavesdropped and monitored.

The erotic thriller plot is based on a number of confrontations and exchanges on Skype, conference calls, smartphones, videos thrown on YouTube, evidence captured by surveillance cameras. The result is a destabilizing game of voyeurism and exhibitionism, often intertwined and taken over in some key scenes by the good old split screen technique, in which the screen itself is cut in half so that the choreography of the murder runs parallel (or asynchronously) with a real choreography, L'Après-Midi d'un faune.

In his previous film 'Redacted' (2007), De Palma used an even more disorienting mix of various image types to reveal different layers of subjectivity and objectivity, truth and falsehood, fact and fabrication. Here he uses this strategy for a pure style exercise. For the DePalma admirer, 'Passion' can also be enjoyed as one long walk through the fetishes, obsessions and hobbies of the director who here updates his playful erotic thrillers from the eighties and nineties ('Dressed to Kill', 'Body Double', 'Raising Cain'), complete with the comeback of his regular composer Pino Donaggio who once again delivers a teasing lyrical score.

A film also in which De Palma gives free rein to his passion to bring female beauty to the lens in the most fetishistic way. Only this happens here compared to De Palma's related thrillers in such a purified form that the film also has something skeletal, despite the sensually seductive visuals and camera movements. Exactly: like the late films of Fritz Lang.

Posted by Geoff at 12:01 AM CDT
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