RESNAIS AS OVERLOOKED INSPIRATION FOR DE PALMA
At the start of De Palma's 1962 short film Woton's Wake, the camera briefly pans over a set of books on a shelf. Included on that shelf amongst published screenplays by Ingmar Bergman, film theory books by Sergei M. Eisenstein, V.I. Pudovkin, and others, are separate published screenplays for two early films by Resnais: Hiroshima Mon Amour and Last Year At Marienbad. Armed with this fact, one can detect a seemingly conscious (though perhaps subconscious) strain of Marienbad in De Palma's early feature Murder a la Mod. The influence of Resnais on De Palma's work is worth investigating, especially now that it has come full circle to where a major critic sees De Palma in late-period Resnais.

DTK PART OF "MASTERPIECES AD INFINITUM" EXHIBIT AT CENTRE POMPIDOU-METZ
Meanwhile, The Centre Pompidou-Metz opened last month in Metz, France, and according to The National's Natasha Edwards, features an exhibition titled "Chefs-d’oeuvre?" which "investigates the notion of the masterpiece." One of the galleries in this exhibit is titled "Masterpieces Ad Infinitum," which, according to Edwards, "covers the eclectic media, complexity and referentialism of contemporary art, where uniqueness and craftsmanship no longer apply, yet the notion curiously persists. In one room, three screens simultaneously show us suave James Stewart in Hitchcock’s Vertigo, which influenced the gallery scene in Brian De Palma’s Dressed to Kill, which is brilliantly parodied in Brice Dellsperger’s spoof Body Double 15."

YOUNG ADULT FILM FRANCHISE SOUNDS LIKE A MATCH FOR DE PALMA
While we're on the subject of kicking off franchises with a bang, The Hollywood Reporter's Jay A. Fernandez reported yesterday that Paramount and MTV Films will adapt the best-selling young adult paranormal thriller novel Wake. According to Fernandez, "Wake is the first of three novels written by [Lisa] McMann about a 17-year-old girl named Janie with the unwanted ability to become sucked into people’s dreams. Not surprisingly, she sees things she would rather not see. But when she gets pulled into a terrible nightmare, Janie dangerously goes from mere witness to participant." The script is being written by Christopher Landon, who co-wrote the Rear Window-esque Disturbia. This sounds like a project that would have huge potential for someone like Brian De Palma. I almost forgot to mention: Miley Cyrus is being talked about for the lead, but she wants to see the script first. I also forgot to mention: Paranormal Activity 2 producers Steven Schneider and Jason Blum are involved in this project, as well.

Meanwhile, I recently found this Premiere.fr interview with De Palma about Redacted that I don't believe I'd seen before.

Below is a transcript of the scene from the episode called Breakdown, as pictured in this post:

Jules: Oh, you got your yearbook.

Travis: Besides my senior photo, there’s like one picture of me, and it’s with Mr. Goolsbey, the creepy woodshop teacher.

Jules: [laughs] Why do you have your hands on his breasts?

Travis: Because I was pretending to push him into the bandsaw, but they cropped that part out.

Jules: Bummer for you, dude. What happened to Mr. I-don’t-care-about-high-school?

Travis: What was I supposed to say? I didn’t make any mark at all.

Jules: The only thing that matters is that you got through it. It’s not like I made some big splash in high school.

Travis: Really!? Because I got your yearbook…

Jules: [nervous laughter] Well, we don’t need to look through that, I mean, I’m barely in it.

Travis: [opening book] Look—inside cover, you as the prom queen.

Jules: Yeah, I got 98% of the vote, but, you know, whatever. And it’s only one thing. It doesn’t mean I was super cool.

Travis: Is this you dancing on stage with Bruce Springsteen?

Jules: Yeah, that was super cool. [she starts dancing like they did in the video]

Travis: [disgusted] Stop it.

Jules: [still dancing] I’m sorry. [she turns and dances out of the room]

Speaking of Hirsch, he recently served as editor on the Robert De Niro/Al Pacino cop/buddy movie Righteous Kill, which I finally watched last week (watch out for SPOILERS here). De Niro and Pacino got a lot of flack for this one, but the project itself I think was a good one to take on. Where De Niro went wrong, I believe, was in taking the project to director Jon Avnet, who has a style akin to television. The script is good, and the idea to cast Pacino opposite DeNiro in this is a good one. However, with that pairing having previously been directed by Francis Ford Coppola and Michael Mann, a stronger director would have worked wonders for this project. That said, there are two sequences that really stand out for being extremely well-edited. The first is a scene where the two cops are being interrogated, and the shots roll at us in rapid succession and from various directions, as the pair are compared to Lennon & McCartney ("not an inch of daylight between them"-- how's that for a contrast to their juxtaposition in The Godfather Part II?). Indeed, De Niro and Pacino tease their interrogators with irreverence as if they were two Beatles at a sixties press conference. A followup scene later in the film becomes a split-screen marvel as the two cops are juxtaposed against each other, and then against themselves, as if we are watching four personalities in the minds of two men. Very creatively done.

Righteous Kill also carries thematic links with De Palma's Snake Eyes. Pacino had turned down the role of Kevin Dunn in the latter film opposite Nicolas Cage's Rick Santoro, but in Righteous Kill his character takes a very similar twist, although the roles in each film, regarding who looks up to who, is reversed. In an odd bit of serendipity, Carla Gugino has been cast in both films as the go-between female figure who is the first to identify the real killer. (John Leguizamo plays a younger cop in Righteous Kill, teaming up with Pacino's cop, but there is no real "Carlito"-type of tension between the two characters in this one.) In the making of docs on the DVD, De Niro says he liked the script, which I agree is a good one, but he should have taken it to a great director. De Palma, Scorsese, Coppola, or Eastwood—even Michael Mann, any of these would have elevated the material, which was already a strong piece of work, especially when combined with the casting.

Lisle Wilson, pictured above in his unforgettable Herrmann-scored role as Phillip in Brian De Palma's Sisters, died March 14 at the age of 66, according to Famous Monsters of Filmland. (This sad bit of news comes to us via our old friend, Bill Fentum-- thanks, Bill!)