International con artist/thief Laure Ash helps pull off a diamond robbery in Cannes during the annual film festival. She double-crosses her partners-in-crime and makes off with the diamonds to Paris where she accidentally assumes the identity of a distraught woman who commits suicide and then leaves the country. Seven years later, Laure (now called Lily Watts) re-surfaces as the wife of the new American ambassador to France where a certain Nicolas Barto, a Spanish photographer, takes her picture thereby setting the stage for a motion of events as the evil Laure resorts to low, underhanded means to protect her former identity. —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
The plot is the least interesting thing. I'm wondering if the audience manipulation really does add up to something.
Genius from the moment we see Romijn's naked reflection in the perilous depths of Double Indemnity. Is Femme Fatale illustration of the mise en abyme of De Palma's whole oeuvre?
Technical virtuosism alone doesn't make a movie. Directing actors and developing coherent and interesting stories sure aren't de Palma's qualities. The only good movies he's made that I've watched are Carrie, Body Double and Dressed to Kill. Everything else goes from meh (Carlito's Way, Casualties of War, Mission Impossible, Blow Out) to disastrous (Scarface, Sisters, The Fury, The Untouchables, The Black Dahlia).
um like a meio gás para ti...percebo o que queres dizer e partilho algumas coisas mas pá o Blow Out é genial, entre o 'the conversation' e o ' blow-up', eu adorei; sim tem as cenas cheesy-tacky-corny do DePalmas mas eu achei brilhante...nem curti muito este filme "femme fatale", não vi ainda esses dois "body double" e "dressed to kill". vi metade das cenas dele em tv o que é péssimo, mas...Scarface não acho desastroso e meh ao "carlito's way" man há ali muitos morceau de bravoure técnicos...mas sim só domínio técnico não basta...mas entra na equação ou não...?
o de Palma é essencialmente um piroso que se põe a tentar homenagear o que já foi feito (por Howard Hawks e Hitchcock, sobretudo). é um formalista do crlh, disso não há dúvida: quem dera a muita gente saber filmar como ele sabe. Mas tem uma inclinação para o piroso/foleiro/excessivo (que o próprio Hitchcock tb tinha mais para os últimos filmes) que estraga (literalmente) grande parte dos filmes dele. O Body Double e o Dressed to Kill apesar de terem muita coisa kitsch e pirosa ali no meio são filmes visualmente extraordinários. O Body Double é talvez o filme mais complexo (tematica e narrativamente) que o de Palma assinou. Ainda assim, não tenho dúvidas de que o Carrie (enquanto todo) é a melhor coisa que ele fez. O Carlito's Way vi recentemente e é uma piroseira sentimental do crlh. Mas lá está, tem com cada plano-sequência....... O blow-out já não me lembro bem mas quando vi achei que tinha coisas interessantes mas ele prolongava aquilo em demasia.
The director talks about his new movie, home video cinephilia, working with cinema’s greatest composers, and more.
A kaleidoscopic sample of film music: impossible fantasies, lush atmospheres, epic operas, sophisticated seductions.
The thief Laurie Ash steals the expensive diamond jewel called ‘Eye of the Serpent’ in an audacious heist during an exhibition in Cannes 2001 Festival. She double-crosses her partners and is mistakenly… read review
This is, without a doubt, one of Brian De Palma’s greatest achievements, an incredibly rich and playful movie which immeasurably rewards repeat viewings. Basically, you get out of it what you put in;… read review
Estoy seguro que el tiempo hará justicia con esta película, que si bien está lejos de ser una obra maestra, si es una de las mejores de Brian DePalma, especialmente si consideramos todas las películas… read review
the strongest argument against cynicism of popular culture. we are deafened by senseless, dark, violent crime thrillers. and sometimes we need to wake up to our own dreams.
“femme fatale” is… read review