Sisters is filthy and sensationalist, but for some reason I fucking love it. It's pulpy and clearly doesn't really understand women, but for some reason it's totally entertaining. It's like Hitchcock without any of the Code-restraints. There are some visual and narrative parallels to Repulsion (Polanski) too.
Rewatch. Better than I remembered it. Jennifer Salt looks like my mom. Also kind of loved how the stakes were so low (I guess you could say this about all of BDP's films) in that the characters were all a bunch of losers living in St. George. De Palma hates cops.
A noticeable presage to the silky sleaze of Dressed to Kill & Body Double albeit blocked in unsubtle American International types. Despite, or because of, the sub-Hitchcockian moments - including a playfully unbuttoned Hermann score - this is an amusing riff on ways of seeing and voyeurism, if not medical fidelity. Tawdry fun.
3.5 stars. A stylish homage to Hitchcock with several themes and pieces pulled straight from his movies, and a bit of Repulsion thrown in, yet Sisters is very distinctively owned by De Palma. Doesn't feel like his first foray to the world of thrillers, and with some other director the weak pedestrian script would have been more prominent.
As his first venture into pure homage, it never transcends its influences even if it goes further. We recognise the template but the undertones are decidedly more explicit. What makes it work aside from BDP's formal skills, is the kind of real-time sleuthing, a narrative perspective that shifts with the act of witnessing. More thrillers should be contained, amorphic, open to a narrative inventiveness.
This is probably one of the better De Palma’s I’ve seen. I’m starting to appreciate what he’s doing more now. It feels less like a rip-off and more like a continuation of Hitchcock into the 70s. It may be pulling a lot, but it’s probably no worse than what Tarantino does. He’s just a more talented filmmaker overall.
This decade is particularly good in these kinda of production, between horror, sci-fi and a certain new approach to psychoanalysis. Like Cronenberg ("The Brood", "Rabid") or Carpenter ("Someone's Watching Me!") de Palma did this incredible film where many of is future elements are already created. It's show too is deep devotion to Hitchcock ("Rear Window" or "Vertigo").
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
Annoying characters, comically bad acting, and an uninteresting screenplay. Some cool editing techniques like the black and white and split screen. The entire middle third of the movie is terrible. The private eye and the journalist are the least likeable characters I've ever seen. Soundtrack is hit and miss. Creepy at times. Distractingly campy at others. Started and ended well but that middle.... so bad.
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.