A deliciously tawdry burlesque B-side to Dressed to Kill; a composite of all manner of borrowings, nods & derivations - before they are skewered and exposed for what they are not (quite). The hilarious lacerations of filmmaking & indeed film-watching make for an outrageously effective double-take on filmic convention & artificiality, screwing genre construction & expectation with gleeful cheek. More fun than the A.
Probably my favorite DePalma film - a filmmaker I've been devouring to mixed delight. This is a sleazy, entertaining, and delicious noir that steals from everyone under the sun. It's wonderfully stylized and full of fantastic memorable sequences. It's incredibly unbalanced and shows a bewildering lack of finesse - especially when stealing so much from Hitchcock. You'll never see a bouncier steadicam shot than here.
A masterpiece when it's silent, but the story drags down its depiction. De Palma's staging, the layers of geography and meta-textual meaning in every shot, is stunning and the way that his living camera moves through these multi-tiered landscapes brings them to live. I just wish that the material pushed and pried as much as his treatment of it.
At times I was on the edge of my seat yet at others times, I was covering my eyes in sheer horror; sometimes I felt aroused in an unsettling way but one thing is for sure, throughout 'Body Double' my jaw remained dropped. An incredible experience. One of the few films I've ever wanted to, upon the end credits rolling, replay immediately afterwards. Very reminiscent of 'Peeping Tom' 'Rear Window' and 'Blue Velvet'.
Another De Palma thriller that inevitably draws comparisons with Alfred Hitchcock's work and 'Rear Window' in particular. The convoluted plot, overwrought score and some truly strange turns will offend some whilst captivating others, but De Palma once again gets the best out of his actors and the third act is truly gripping cinema after a somewhat meandering middle section. Dondaggio's 'Telescope' is sublime.
It took a while, but I'm finally onboard with De Palma's delightfully perverse position on life vs. cinema. BODY DOUBLE is undoubtedly the trashiest film he has made. Now, why do we really watch movies? To comprehend life or its great mysteries? Nope. We watch to dream with our eyes open. Pure cinema is pleasure. And unlike real life, in cinema you can have it all—including Melanie Griffith. Because why the hell not.
De Palma manages to create a film that's both gauche B-Movie & profound commentary on society & the medium. As the title suggests, the whole film works on a notion of trickery - we are constantly battling to distinguish dream, reality & the surreal. De Palma effortlessly lampoons the fakery of filmmaking & the allure of voyeurism on the foundations of Vertigo/Rear Window. A seedy thriller loaded with possibility.