Jake comes home to find his girlfriend with another man and has to find a new place. In between his acting workshops and his job in a vampire B-movie, he scans the paper looking for anything. He happens to meet a fellow actor who needs a house sitter. Both are pleased with the arrangement that will have Jake staying in the house and for a sweetener, Frank shows him his ‘favorite neighbor’, a well built woman who strips with her window open each night. Jake becomes obsessed with meeting her and is able to help recover her purse from a thief, but shows his own phobia, he is incapacitated by claustrophobia when the thief runs through a tunnel. When Jake witnesses a murder, he finds out that the police love to pin crimes on peeping Toms. Jake discovers that here are just too many coincidences but must hunt them down himself without the police. –IMDb
Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.
Born on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.
At first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom… read more
Wonderful comic complement to Blowout's high tragedy. Up there with Carrie and Blowout, but you have to enjoy it for the weird postmodern pleasure it is.
De Palma lives in a sort of continuum between b-film camp and metafilm profundity. Does that make any sense? Does it at least sound cool? Okay, yeah, whatever.
Like Blow out, shot three years before, Body Double is a film about cinema. About the shams and the manipulation of images a director is entitled to invent in order to deceive the viewer or, if you prefer, to present his reality. The intent is great, too bad that, for once, Brian De Palma didn't look after the screenplay as carefully as usual because a few scenes, like the encounter between Jake Scully and Gloria Revelle, are bordering on ridiculous. Nonetheless, a must for movie lovers.
Encore un film que je constate avec plaisir (ou effroi, ma mémoire vacille) que je connaissais en fait au moins la grosse première moitié, mais dont je ne me souvenais plus du tout de la fin.
On… read review
I’d argue that Brian De Palma, without even trying, made the definitive 80’s film with “Body Double.” De Palma captures all of the excess, the egotism, and the apathy of the “Me decade,” without any… read review