Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod

E-mail
Geoffsongs@aol.com

De Palma Discussion
Forum

-------------

Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
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
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

------------

AV Club Review
of Dumas book

------------

« March 2016 »
S M T W T F S
1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31

Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags

Directorama

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

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

Entries by Topic
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.
All topics  «
Ambrose Chapel
Are Snakes Necessary?
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Congo
Conversation, The
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Domino
Dressed To Kill
Edward R. Pressman
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Genius of Love
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jack Fisk
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Mod
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
NYFF
Obsession
Oliver Stone
Palmetto
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pimento
Pino Donaggio
Predator
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sakamoto
Scarface
Scorsese
Sean Penn
Sensuous Woman, The
Sisters
Snake Eyes
Sound Mixer
Spielberg
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Tabloid
Tarantino
Taxi Driver
Terry
The Tale
To Bridge This Gap
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Untouchables
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Tuesday, March 15, 2016
'DE PALMA' ADDED TO HOT DOCS FILM FEST
AND ARNAUD DESPLECHIN GUSHES ABOUT THE MINIMALIST WAY IT'S SHOT & CONSTRUCTED


Hot Docs, the Canadian international documentary festival, today revealed that Noah Baumbach and Jake Paltrow's De Palma will screen at this year's fest, as part of its Special Presentations sidebar. The festival runs in Toronto from April 28 through May 8, and the final slate/schedule of films will be announced on March 22nd. "From Carrie to Mission: Impossible to Scarface and beyond," reads the Hot Docs description, "Brian De Palma has created some of cinema’s most iconic work. In this career-spanning, funny and candid conversation, he reveals his unique perspective on life, work and the past 50 years in film." This announcement comes less than a week after it was announced that De Palma will screen at the 18th annual RiverRun International Film Festival on Wednesday, April 13, at 7:30pm.

Meanwhile, Arnaud Desplechin's My Golden Days opens this Friday. You may recall that De Palma, Baumbach, Paltrow, and Wes Anderson all attended that film's premiere last fall at the New York Film Festival (NYFF director Kent Jones also appears in the group photo above with Desplechin). Sounds like Desplechin got a chance to catch De Palma, as well-- Here's the beginning part of Metro's Matt Prigge article, posted today:

Arnaud Desplechin loves talking film so much he doesn’t only talk about his own films. The French director (of "Kings and Queen" and "A Christmas Tale") is in New York to promote “My Golden Days,” a prequel-of-sorts to his 1996 film “My Sex Life…or How I Got into an Argument,” visiting two of its characters, Paul and Esther (Mathieu Amalric and Emmanuelle Devos, though only Amalric appears), when they were young and first in love (and now played by Quentin Dolmaire and Lou Roy-Lecollinet).

But he just saw “De Palma,” Noah Baumbach and Jake [Paltrow]’s doc about filmmaker Brian De Palma, and he gushes about the minimalist way it’s been shot and constructed. Soon we’re talking about Woody Allen, and it’s a miracle we quickly steered things back to his own (excellent) new film.

De Palma is someone who’s sometimes written off as trashy, but he has a strong critical fanbase. Are there other filmmakers you think are underrated?
Woody Allen. For years, decades he was underestimated. Film buffs are often half-and-half with him. But what he achieved with 12 films in 12 years between the ’80s and ’90s was just amazing — films like “Another Woman,” “Crimes and Misdemeanors,” “Zelig.” Some American critics are reluctant to like him — they think he’s too New York, too Caucasian, too whatever. Now we can see people really taking him seriously. Ten years ago I felt lonely when I was discussing Woody Allen with American critics.

Even some of his films from the last 20 years are very interesting.
I love “Deconstructing Harry.” “Magic in the Moonlight” is a good film. “Blue Jasmine” — I know American critics loved it because of the performances, which are stunning. But I saw it again on TV a few weeks and [shrugs]. “Magic in the Moonlight” was better.

Even Woody Allen is hard on Woody Allen. He openly disparages his own work.
There is a trend that I love in cinema, where people who are passionate about it say the same thing, which is silly, which is: It was so much better before. The cinema was silent, and soon as sound and dialogue came in, people said cinema was dead. Then came [Ingmar] Bergman, and Bergman said, “What I do is nothing compared to [Victor] Sjostrom or [Carl Theodor] Dreyer.” Then you come to Woody Allen and he says, “What I’m doing is nothing compared to Bergman.” It’s always about complaining that things are the same — but actually, cinema is always different. I love that people always complain that cinema is always done, and then it finds a way to reinvent itself with each generation.


Posted by Geoff at 7:39 PM CDT
Updated: Tuesday, March 15, 2016 7:42 PM CDT
Post Comment | Permalink | Share This Post
Monday, March 14, 2016
HOLLYWOOD REPORTER ASKS:
"WHATEVER HAPPENED TO TONY MONTANA'S 'LITTLE FRIEND'?"


Last week, The Hollywood Reporter's Pete Keeley posted an informative article with the headline, "'Scarface': Whatever Happened to Tony Montana's 'Little Friend'?" Here's an excerpt:
The M203 grenade launcher was introduced in 1969 and used extensively by the U.S. military during the Vietnam War. But Tony's had to be fabricated by the studio props department because Scarface prop master John Zemansky couldn't find a manufacturer willing to sell him an actual, live-firing M203. The launcher is not technically illegal to possess (or at least it wasn't in California in the early '80s), but it is classified as a "destructive device" under the National Firearms Act and requires a special license to own.

"I basically manufactured one that looks exactly like the real one except that I put a different trigger system in so it would fire a blank cartridge," says Zemansky, who had five duplicate launchers made for the production. "We put a sleeve in [the barrel] to accept what kind of cartridge we wanted." Because the fabricated weapons weren't capable of firing actual 40mm grenades (Zemansky recalls that it was outfitted to fire shotgun shells), they weren't subject to the same onerous regulations as a real M203.

Still, after Scarface wrapped, the fake M203s were sold off to Stembridge Gun Rentals, an armory that supplies weapons to Hollywood productions. "I didn't want it because I didn't want to have a problem with the ATF or anybody! It was easier just to get it out of my possession," says Zemansky.

Stembridge rented out Tony's "Little Friend" to other films and TV shows over the years. Most notably, it appeared in Clint Eastwood's Heartbreak Ridge (1986) and John McTiernan's 1987 action classic Predator, where Arnold Schwarzenegger himself toted it in several scenes. It even appears on the one-sheet.

Stembridge Gun Rentals' Syd Stembridge says he no longer has any of the Scarface M203s in his collection, but one of the launchers sold at auction in November (attached to a replica AR-15) for $54,400. A big number for a little friend.


Posted by Geoff at 9:06 PM CDT
Post Comment | Permalink | Share This Post
Sunday, March 13, 2016
VIDEO: THE REMAKER COMPARES 'CARRIE' 1976/2013
CONCLUDES THAT REMAKE'S STEADY PACE LACKS VARIETY OF THE ORIGINAL, INCLUDING LACK OF ABRUPT TONAL SHIFT AT PROM;
ALSO, WITH ITS LACK OF DISTINGUISHING MISE-EN-SCENE, REMAKE IS LESS EFFECTIVE FILM



Posted by Geoff at 8:45 PM CST
Post Comment | Permalink | Share This Post
Saturday, March 12, 2016
MORE FISK, ON WORKING WITH DE PALMA
"HE REALLY TOOK ADVANTAGE OF THE SETS, PROBABLY MORE THAN ANYONE I WORKED WITH"
Following our post from earlier this month in which we linked to an interview with production designer Jack Fisk by The Playlist's Charlie Schmidlin, and the current Fisk series at New York's Museum Of The Moving Image, the current issue of Film Comment also has Michael Sragow interviewing Fisk. In the following excerpt from the latter, Fisk answers Sragow's question, "Why haven’t you worked with Brian De Palma recently?"
I’d love to work with De Palma again. When I finished Badlands, Ed Pressman the producer said come and work with Brian De Palma on this film I’m doing, Phantom of the Paradise. Brian can appear kind of gruff. I showed up, kind of assigned to the project, and he asked, “What have you done?” Well, I hadn’t done much. I had finished Badlands. I had done a lot of Roger Corman and Gene Corman films up to then. I started working on that film, and I don’t pretend to know everything but I started presenting ideas about the character. We were doing this great thing about the music industry. I came out of my house one morning and there was this dead bird lying on the side of the road. And I picked it up, and I got this idea for an image for Death Records. It was actually a sparrow, but I was thinking of it poetically as a songbird, and I thought it could be a logo for Death Records. I took a picture with a process camera and made an image of it. And I think Brian responded to that. Long story short, three years ago one of my daughters shows up with a shirt on with that bird on it, and someone’s marketing it on the Internet 40 years later. That was a fun thing.

And then I had these ideas of Swan’s office desk being an old record, his bedroom being a turntable with gold record sheets. I never really knew what Brian thought but I was working like crazy. And we were about to do the scene when Finley [Winslow/The Phantom] breaks out of a brick wall—somebody has locked him in this office to write and fixed it so he’d never get out, and he does bust out. Well, I was new to film and I was making the bricks and mortaring them together during lunch. The grips came back, and they were ready to shoot, and I wasn’t quite finished. I was covered with mortar and sweat and stuff, and one of the grips started giving me hard time: “You’re not a professional: you should have done this a long time ago!” And I can’t tell you exactly what Brian said, but it was something like, “Shut up, he’s making the film look great.” It was the first time I knew he was excited with what we were doing, because it was really kind of out there—out there like The Cabinet of Dr. Caligari. I called a friend of mine who was a costume designer, and said, “I’m doing this film with Brian De Palma, it’s about the Devil, Faust, and all that,” and she said, “You can’t use black and red, that’s for sure.” The way she said it, I just got it into me, “I’m going to use black and red” and so I did. Sometimes I just like to go against what everybody thinks. She was a woman of taste but I thought, I like black and red. Also, we didn’t have a lot of money, so you could black out something and not see it and it would work really well. Sometimes I wanted the sets to go black and the DP overlit them, and I get upset to this day when I see it, because there are things that were supposed to be black that are gray. All we had to do was just shut off a few lights. Working with Brian was great fun, and with Carrie, the same thing.

Brian called me afterwards to work with him, but our schedules just didn’t work out. I love Brian. He’s a wonderful filmmaker. He actually storyboarded every shot. At the time he would do it on 3 x 5 cards, with stick figures. You could go into his office and see the whole film laid out on the wall. Every scene. So I knew what he was going to shoot and it was easier to design the sets because I knew what he wanted and who the characters were and where the camera was going to be. And he stuck pretty much to that. And he would show up on set and he would get so bored waiting for lighting and waiting for people to get made up, because he’d already made the film in his mind. He really took advantage of the sets; probably more than anyone I worked with, he would use them and took a certain delight in them. He was a fun director.

You know, someone did a remake of Carrie. I know Brian knows the director who directed it. And someone was talking to him and to her about how they did the bucket of blood that gets dumped on her. And the new one, they engineered with effects and levers and stuff like that. And I think it cost them about $200,000 to dump the blood on Carrie. And someone was talking to him and her about the new dump, engineered with effects and levers. And they asked Brian how he did it, and he said, “Jack Fisk just climbed up a ladder and dumped a bucket of blood on her.” That low-tech thing we did in the ’70s because we didn’t have much money. Sometimes it works just as well or better.


Posted by Geoff at 11:59 PM CST
Updated: Sunday, March 13, 2016 12:00 AM CST
Post Comment | Permalink | Share This Post
Friday, March 11, 2016
'CARRIE' & 'PHANTOM' AT MUSEUM OF MOVING IMAGE
PART OF SERIES "SEE IT BIG! JACK FISK" March 11 - April 1
The Museum Of The Moving Image begins a film series tonight titled, "See It Big! Jack Fisk." Fisk-designed sets will be all over the big screen in films such as Brian De Palma's Carrie, which screens Saturday March 12 at 4:30pm, sandwiched in between Fisk collaborations with Terrence Malick (To The Wonder) and David Lynch (Mulholland Drive). De Palma's Phantom Of The Paradise will screen at 7pm on Sunday, March 20, and then the following Saturday, March 26, features a film that Fisk also directed, Raggedy Man, starring his wife Sissy Spacek, at 4:30pm, followed by a can't-miss-if-you're-in-the-area double-feature that evening made up of Willard Huyck and Gloria Katz' Messiah Of Evil and William Witney's Darktown Strutters. Of Messiah Of Evil, the Museum Of The Moving Image description reads, "One of the great unsung horror movies of the 1970s, this trancelike, visually stunning creep-out stars Medium Cool’s Marianna Hill as a young woman searching for her missing father, getting deeper and deeper into the world of the occult. According to cult film expert Tim Lucas, Messiah of Evil features 'some of the most elegant cinematography and uncannily unnerving art direction ever afforded an American horror film.'” Of Darktown Strutters, the description reads, in part, "Gaudy, gritty, and fantastical, Darktown Strutters was one of the most eccentric productions designed by Jack Fisk during the wild first decade of his career." Film Comment's Margaret Barton-Fumo calls Darktown Strutters "a cartoonish film that proudly abandons any semblance of reality."

Posted by Geoff at 3:11 AM CST
Updated: Saturday, March 12, 2016 2:45 PM CST
Post Comment | Permalink | Share This Post
Wednesday, March 9, 2016
'DE PALMA' DOC AT RIVERRUN FEST APRIL 13TH
INTERNATIONAL FILM FEST RUNS APRIL 7-17 IN WINSTON-SALEM, NORTH CAROLINA
Jake Paltrow and Noah Baumbach's documentary about Brian De Palma will screen at the 18th annual RiverRun International Film Festival on Wednesday, April 13, at 7:30pm. De Palma will screen out-of-competition as part of the festival's "Special Screenings" program. The festival runs April 7-17, 2016.

Posted by Geoff at 2:41 AM CST
Post Comment | Permalink | Share This Post
Tuesday, March 8, 2016
'HELL'S CLUB PART TWO ANOTHER NIGHT'
CARRIE MEETS CARRIE, OPENS WITH CARLITO "IN MEMORIAM" w/PATRICK DOYLE MUSIC, MORE 'SCARFACE'

Last week, Antonio Maria Da Silva posted a sequel to last year's Hell's Club, the just-under-ten-minutes mash-up video that brought together several high-profile movie characters using scenes from nightclubs. In that video, Tony Montana met eyes with Carlito Brigante. The new video opens with Patrick Doyle's theme music from Carlito's Way, showing a framed poster on the wall of Carlito, "in memoriam," edited with shots of Gail in the nightclub, looking sad and missing him. At one point, Montana pays his respects to the poster, as well. The much longer video that follows (the running time of this sequel, titled Hell's Club Part Two Another Night, is around 17-minutes) includes Tony Montana battling with aliens, and a moment in which Carrie (Sissy Spacek) meets eyes with Carrie (Chloë Grace Moretz). Watch the new video below:

Posted by Geoff at 7:54 PM CST
Updated: Tuesday, March 8, 2016 7:56 PM CST
Post Comment | Permalink | Share This Post
Monday, March 7, 2016
JOE & ANTHONY RUSSO TALK MORE DE PALMA
AS CARRYOVER INFLUENCE ON UPCOMING 'CAPTAIN AMERICA: CIVIL WAR'
Collider's Matt Goldberg was among a large group of reporters that visited the set of Captain America: Civil War in May of 2015, where they were able to discuss the film with writers/directors Joe and Anthony Russo, who mentioned that the De Palma influence they spoke of regarding their previous Captain America film is present in the current one, as well:
Something I really loved about the commentary you guys did on Winter Soldier was you kept listing all the films and directors that influenced a certain sequence or how you broke a story or how you shot something, I was wondering if you could talk about some of the films that helped influenced how you approached this one.

ANTHONY: In general, just as a framing we always thought about Winter Soldier very specifically as a political thriller. This movie we think of more as a psychological thriller. It’s connected to what we’re doing in Winter Soldier, but it evolves into a more sensitive, complicated character thriller. Again, I think based upon the fact we’re dealing with our protagonists clashing with one another.

JOE: The movies we’ve been referencing a lot on this one are Se7en, weirdly. We like smashing genres into each other, so if you can find something that’s really idiosyncratic in respect to superhero genre and you can smoosh it into it you usually wind up with something fresh and different. Se7en, Fargo, just as far as we’re not making comparisons in terms of quality we’re just talking influences, The Godfather, because that’s a sprawling film with a lot of characters that tells very intricate stories. Each character has an arc. What else?

ANTHONY: De Palma is also.

JOE: De Palma is the one carry over between both movies, because he’s so good at tension and empty space. Trying to think of who else…

ANTHONY: It’s hard to talk about it because then you give stuff away. We could probably talk about 100 of them.

JOE: We were referencing this sequence as our Rumble Fish sequence.

ANTHONY: We’ve been also referencing westerns a lot as we start to think about these character showdowns.


Posted by Geoff at 8:26 PM CST
Post Comment | View Comments (1) | Permalink | Share This Post
Sunday, March 6, 2016
ZOLLER SEITZ TO PRESENT 'SCARFACE' IN DENVER
TEASING HIS UPCOMING OLIVER STONE BOOK SUNDAY & MONDAY, w/STONE ON-HAND FOR 2 FILMS SUNDAY
Matt Zoller Seitz has been working on a book about Oliver Stone. The Oliver Stone Experience will be in the spirit of the author's recent books about Wes Anderson. Today and tomorrow, Zoller Seitz will tease the book at the Alamo Drafthouse in Denver, presenting, along with Stone himself, two of the director's films on Sunday (today), and, without Stone, Brian De Palma's Scarface (which was written by Stone) on Monday night with a "Cuban Feast" at 7:30pm. The two Sunday films, with Stone accompanying the author, are Natural Born Killers (already sold out), and U-Turn.

In April 2014, I had the pleasure of seeing Stone present his film Born On The Fourth Of July from a 35mm print at Ebertfest, followed by a discussion on stage with Zoller Seitz. At that time, the book had just been announced, and I spoke with Seitz afterward, who told me he was really excited about the design ideas for it, which would be necessarily different than that of his Wes Anderson book-- a bit more sprawling, to match the sheer propulsive drive of Stone's ideas and experiences. In any case, the rapport between Stone and Seitz seemed pretty tight, and I'm looking forward to what sounds like a fresh, invigorative journey through the films of Oliver Stone.

Posted by Geoff at 5:31 AM CST
Updated: Sunday, March 6, 2016 5:34 AM CST
Post Comment | Permalink | Share This Post
NETFLIX & CONVULSE
'SCARFACE' JOINS 'THE FURY' ON STREAMING SERVICE FOR AN EXPLOSIVE DOUBLE-DE PALMA-FEATURE
There was a lot of excitement and curiosity last month when Brian De Palma's The Fury was added to Netflix' streaming service. Now March comes in like a lion at Netflix with the addition of De Palma's Scarface into the mix. Here's a collection of links and what some have been saying about it in the past week or so:

Jackson McHenry, Vulture

"It’s a crime that the site that gave us Narcos didn’t already have Scarface on file — then again, maybe that was a strategic move, as the TV show pales in comparison to Brian De Palma’s red-blooded epic. As he rises to the top of Miami’s drug trade, Al Pacino says all the lines you’ve heard teenage boys misquote elsewhere. A reboot was in the works a while back, but why would you want that? Just watch this."

Amy West, International Business Times

"Directed by Brian De Palma (Carrie, The Untouchables) and written by Oliver Stone (Platoon, Natural Born Killers), Scarface has arguably become one of the most iconic gangster movies of all time since its release, despite being nominated for a Razzie Award way back in 1984. So if crime drama is your thing, make sure you 'say hello' to one of the best in the genre.

"Watch this if you enjoyed: Carlito's Way, The Godfather, Goodfellas, American Gangster, Serpico, Training Day, Deep Cover, Casino and Once Upon A Time In America."

Jack Giroux, /Film

"How well does Scarface hold up? You can find out on March 1st. Admittedly, not all of Brian De Palma‘s rise-and-fall drug kingpin story has aged well. The montage set to 'Push it to the Limit' is a product of its time, but Al Pacino‘s performance remains monstrous and grand. It’s a larger-than-life kind of performance, which has earned its iconic status. Scarface is a highly-entertaining crime film. Maybe it’s not De Palma’s best, but Pacino’s performance is just so ferocious and fun."


Posted by Geoff at 5:00 AM CST
Post Comment | View Comments (1) | Permalink | Share This Post

Newer | Latest | Older