Essential for anyone interested in De Palma's signature style. This contains the 'pharyngeal arches' of what audiences have come to expect from his thriller mode (sans the dioptry/split-screen, which doesn't happen until a year later): 'camera-sight' surveillance, scenes replayed from multiple POVs, etc.
What's most startling is the way so many thematic concepts are already fully realised in 'La Mod'. The short leap from photography to death, the eradication of the self by the image. Closer to the embodiment of cinema as smut than later works. Exhausting even at 80 minutes, the structure now feels worn to us who had to live through the 90's. An essential artifact no less.
It's one of the great developments of the 20th century that the guy who made the films of De Palma I ended up becoming De Palma II instead of dying of a drug overdose or mysterious causes in a New York loft. One of the pleasures of Murder is realizing how very, very scared of the future its doubtlessly-small audience at the time would have been if you told them how innocent it would seem in 2014. Like Terry Southern.