Peut-être que c'est parce que dans le fond, il traite de la même chose. Intertextualité manifeste dans le rapport individus marginaux face à une société "puritaine".
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
Possibly the best film that Alfred Hitchcock never made. I'd say it was schlocky if it didn't serve as such a brilliant deconstruction of the psycho-thriller genre that the Master defined. Once again, De Palma displays his astonishing ability to lay bare the most depraved ideas that his idol always flirted with.
Another great lurid and bombastic thriller from cinema's greatest and most shameless plagiarist Brian DePalma. His kinetic camerawork is thrilling as usual, and his sense of the Hitchcockian top notch as always. But what struck me the most was the quality of the performances. Michael Caine is sublimely creepy, and Nancy Allen both cute and sexy. DePalma is at his best with this type of film.
If De Palma had simply made gripping, cheeky trash art, it would have been enough. But "Dressed to Kill" is more, an extension and deconstruction of "Psycho." It delves deeper into the psychosexual subtext of Hitchcock's masterpiece and even pokes fun at (or pays homage to) the infamous scene explaining Norman's condition. And with Pete, we get a hint of the detective-as-voyeur as explored in "Blow Out."
Sometimes I try to make the case that De Palma was some sort of a schlocky genius - he used sleaze as a gateway to make darkly funny, ironic statements. Blow Out qualifies, this fails. Badly. And why is he so fixated on the Psycho shower scene. This is the 3rd film of his I've seen which has a bathing beauty being attacked in a shower.
An unapologetic Hitchcock homage, if Hitchcock were allowed to show all the things he just implied. DePalma's body of work is tricky, at once formal, schlocky, and personal—oddly satisfying, too. Maybe its because he knows that, this far into cinema, the only way to catch an audience off guard is to be truly ridiculous.