A scary and stylish paean to female destructiveness, De Palma’s first foray into horror voyeurism is a stunning amalgam of split-screen effects, bloody birthday cakes, and a chilling score by frequent Hitchcock collaborator Bernard Herrmann.
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2,5 Watched it too long ago to make full sense of, but more vividly than before was I aware over the last few weeks of grinning stars' impatient rat-a-tat-tat on earth's domed windowpanes and Gemini's (j)ocular ring-a-rosy, when at the hospital I work at 4 pairs of twins and one set of triplet girls landed in a row. I was about to see The Triplets of Belleville to celebrate the coincidence, but then this flick turned
I'm trying to develop an appreciation for DePalma, really I am. I like a couple of his films, even tho they're pretty cheezy. But this is a 70's slasher film with bloody butcher's knives. And the Bernard Hermann "crazy music" is quite cheezy, too. An extra star for a creative ending tho.
My second De Palma experience and I must say I'm even more impressed than I was before. An incredibly well put together, cinematically fascinating satirical thriller. I have to say I enjoyed this more than Dressed to Kill. The story was very engaging, the humor was well placed and style was awesome.
With the valuable support of Bernard Herrmann in a terrifying score and Paul Hirsch superb editing, De Palma accurately exploits Hitchcockian themes for the first time, and even creates his most dazzling split-screen scene ever.
Before he dove completely into 80's cheeseball hitchcock schlock, he made this innovative and haunting bit of filmmaking. It's still got plenty of camp and hitch references (hermann) but there's something about it being a smaller film that makes it unique and wonderful.
De Palma's use of split screen here is in the early stages of how his style would grow to become what it is today. All in all a small film with a great score by Bernard Herrmann, and although it is very bland you cannot help and avoid De Palma's visual style is a pleasure to watch.