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The All New Brian De Palma Thread - Page 6

post #251 of 263
Originally Posted by Fat Elvis View Post

Just discovered this vintage piece today:


Is Brian De Palma Derivative or Dazzling? Critics Andrew Sarris and J. Hoberman Duke It Out


"Brian De Palma has long been a divisive director. In fact, he even caused a heated schism within the pages of the Village Voice in 1980. As Metrograph's month-long De Palma retrospective closes, we're looking back at the film that caused critics Andrew Sarris and J. Hoberman to duke it out in the pages of the Voice: the erotic thriller Dressed To Kill. Side by side, they argue that De Palma's latest is "Derivative" (Sarris) or "Dazzing" (Hoberman), making for an epic, visual point-counterpoint well worth diving into again, decades later."

Weird that the inventor of the auteur theory would complain about a director's self-indulgence.

post #252 of 263
Sarris did not invent the auteur theory.
post #253 of 263

Although influenced by Cashiers du Cinema, he certainly dubbed the phrase auteur theory, did he not?

post #254 of 263
He coined the term. He did not invent the theory.
post #255 of 263

*debates spending the day arguing the definition of "invent"*


*decides not to*

post #256 of 263
We're getting a new De Palma film: DOMINO.
The story follows a Copenhagen police officer (Coster Waldau) who is seeking justice for his partner's murder by a mysterious man called Imran. He teams up with a fellow cop and his late partner's mistress (Hendricks) to hunt Imran down, but they are unwittingly caught in a cat-and-mouse chase with a duplicitous CIA agent that will take them from Scandinavia to the sun-drenched landscapes of Spain.
post #257 of 263

is it about domino harvey I'm a bounty hunter?

post #258 of 263

my name is Domino Harvey

my name is

my name is 

my name is

post #259 of 263
Hey, one of my favorite directors working with one of my favorite actors off of Game of Thrones? I'm down.
post #260 of 263
Thread Starter 

November 03, 2017 6:30am PT by Ashley Lee

First Look: Nikolaj Coster-Waldau Is on the Edge in Brian De Palma's 'Domino' (Exclusive Image)


Like my man Beaks said I'm afraid we're gonna have to postpone that nuclear apocalypse until Cannes '18 at the earliest.

post #261 of 263

Wasn't Christina Hendricks supposed to be in this? Didn't see her mentioned anywhere in the article.

post #262 of 263
Thread Starter


Guillermo del Toro: "Read it carefully and you will find DePalma having the "Eureka!" moment for Blow Out. I am not kidding."

post #263 of 263

Apologies for the bump, but I just sat down with OBSESSION for the first time in over a decade.  I was kind of knocked out by it.


De Palma’s Hitchcock influence is perhaps as blatant here as it has ever been, but that’s not a critique; the way he remixes (with the aid of Paul Schrader’s screenplay) Hitchcockian ideas and pairs them with his own unique command of visual storytelling results in a powerful cinematic experience.


Having not seen the movie in as many years as it's been, I was struck this time by how confident and - particularly - elegant De Palma’s directorial style is here, especially in contrast to his other release of 1976, CARRIE; CARRIE is certainly the superior film, but De Palma’s hand there feels more steeped in mid-1970s aesthetic choices, whereas OBSESSION looks and feels somewhat more classical in approach.


The film is evocatively shot by the great Vilmos Zsigmond, and he lends the story a slightly dreamlike glow. We also have a pretty remarkable score from Bernard Herrmann (written in the final year of his life) that reaches operatic heights by the conclusion; along with the cinematography and the direction, the music contributes to a haunting quality that the movie has. The narrative progression is undeniably melodramatic, but that’s part of the enjoyment, and the movie culminates in a climax of risky audaciousness and unexpected emotional power.  It's one of De Palman's finest closing sequences. 


This rewatch has convinced me that OBSESSION is one of Brian De Palma’s more underrated films, and it has now broken into my (ever-fluctuating) Top 10...


10.    THE FURY
7.      RAISING CAIN (Director’s Cut)
3.      BLOW OUT
1.      CARRIE


I feel bad for not having a slot for BODY DOUBLE or SISTERS, but so it goes.

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