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
A lurid cocktail of Sunset Boulevard’s Hollywood cynicism, Peeping Tom’s voyeurism and Vertigo’s fatal obsession and swapped identities (merely switching the acrophobia with claustrophobia), all washed over in melodramatic artifice. Despite the expository first act and only creeping morsels of its mystery thereafter, the moment the chase is on, the intrigue and momentum kick in for good, only with such a more heightened flair. Maybe not one of De Palma’s classiest films by any serious measure, but equally one of his most all-out surreal.
Brian De Palma tackled ideas of perception, reality, and audience complicity in this intense lurid riff on Alfred Hitchcock about an out of work actor who accidentally witnesses a murder while spying on a beautiful neighbor. Elements of REAR WINDOW and VERTIGO inform De Palma's winking, self effacing critique of the porn industry 1980's Hollywood, where nothing is real and everything is an empty illusion.
(Note: The is a paper written for a class on the films of Brian De Palma. It is written with the assumption that the reader has already seen the film and it MAY CONTAIN SPOILERS. Enjoy!)
It… read review
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