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
Utterly destroyed by critics. Still better and more beautiful than 2001: A Space Odyssey.
Everyone all knows Brian De Palma hasn't recaptured the fire in a bottle he set loose on the world with Carrie, The Untouchables, and Scarface; this disastrous mess of a movie is indicative of it. It takes itself so seriously and tries to be something more than it actually is. Post Mission: Impossible Brian De Palma is nothing but crap, his time has come and gone.
De Palma does Spielberg. Grand, joyous, full of honesty and emotion, and a bigger than life sense for adventure. I am convinced the camera was in zero gravity. Riveting Morricone score. I loved this film!
Jeez, that shot is insane. If Kubrick were alive to see that shot, either he would die of a heart attack right there in his personal cinema, or he pester De Palma incessantly over the phone on how he made it. :D
It's like if Leos Carax directed a multi-million dollar space adventure, with nods to 2001. There are dead spots, and inconsistencies, but there's poetry too! More poetry than the mainstream could handle (which is often the case). The 'Dance the Night Away' sequence, which Jack L. mentions below, functions on a similar level to the 'musical' sequences in Carax's films. A chance for the characters to externalise something, a thought or feeling. Not through literary devices, like dialogue, or something theatrical, like performance, but through a visual expression that is uniquely cinematic. Another sequence later in the film achieves something similar, though I won't mention it here for fear of spoilers. The ending is as exhilarating (and moving) as the endings of Close Encounters and the aforementioned 2001.
When I first heard about this movie. I thought it was going to be a classic throwback to the 1950’s men on a mission to uncharted territories being updated for current times. Either way with Brian… read review