While taking a shower, Kate Miller, a middle-aged, sexually frustrated New York housewife, has a rape fantasy while her husband stands at the sink shaving. Later that day, after complaining to her psychiatrist Dr. Robert Elliott about her husband’s pathetic performance in bed, she meets a strange man at a museum and returns to his apartment where they continue an adulterous encounter that began in the taxicab. Before she leaves his apartment, she finds papers which certify that the man has a venereal disease. Panicked, Kate rushes into the elevator, but has to return to his apartment when she realizes she’s forgotten her wedding ring. When the elevator doors open, she’s brutally slashed to death by a tall blonde woman wearing dark glasses. Liz Blake, a high-priced call girl, is the only witness to the murder and she becomes the prime suspect and the murderess’s next target. Liz is rescued from being killed by Kate’s son Peter… —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
What seems like a sluggish first act, beyond the recurrently steamy, sleazy opening credits, reveals itself to be a sort of erotic rendition of Vertigo, as told from Madeleine’s perspective, and fitted with the same lurid, yet demure undertones. But its real brilliance lies in how it then shifts gears to Psycho in a split second, as Dickinson, who starts off as Kim Novak, ends up as Janet Leigh. The audacity behind both the homage and its ensuing mise en scene combine to exhilarating effect - truly, a new master of suspense to have taken up the mantle.
Super film, mais la fin est exactement la même que celle de Carrie au bal du diable . Il faut croire que De Palma était en manque d'originalité. Nancy Allen, Angie Dickinson et Michael Caine m'ont bluffé
The director talks about his new movie, home video cinephilia, working with cinema’s greatest composers, and more.
This August in NYC, a program of six films influenced by the Master of Suspense by such directors as De Palma, Saul Bass and Fincher.
(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!)
This… read review