FINAL BOOK IN FURY SERIES
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Exclusive Passion
Interviews:
Brian De Palma
Karoline Herfurth
Leila Rozario
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De Palma interviewed
in Paris 2002
De Palma discusses
The Black Dahlia 2006
Enthusiasms...
Alfred Hitchcock
The Master Of Suspense
Sergio Leone
and the Infield
Fly Rule
The Filmmaker Who
Came In From The Cold
Jim Emerson on
Greetings & Hi, Mom!
Scarface: Make Way
For The Bad Guy
Deborah Shelton
Official Web Site
Welcome to the
Offices of Death Records
AND ANGEL SALAZAR JOINS STEVEN BAUER IN MIAMIIf you're in the Philadelphia area this weekend, you can meet Nancy Allen at the 11th Monster-Mania Con, which runs today through Sunday at the Crowne Plaza Hotel. Allen, who was once married to Brian De Palma appeared in four of De Palma's films: Carrie, Home Movies, Dressed To Kill, and Blow Out.
Rodriguez' column today asks, "Where were you on Dec. 9, 1983?" Rodriguez continues:
I was a teenager at the Miracle Twin Theater on Miracle Mile, eluding aggressive ushers rigorously checking IDs and sneaking into the first afternoon screening of Brian De Palma's controversial, R-rated Scarface. Yes, it was a school day. But so much had been written about the film before its release, there was no way I could wait until Saturday or even later that day. Scarface had to be seen immediately.
Read the rest at the Miami Herald. (By the way, there is no longer any mention that Brett Ratner, who snuck onto the Scarface set as a kid and wound up as an extra in the background, will be in attendance at tonight's screening.)
RAINER DISCUSSES PERFORMANCE ART OF RACEIn an essay for the Los Angeles Times this weekend, Peter Rainer asks, "What is going on in the zeitgeist when an African American is poised to become president and Robert Downey Jr. is in blackface?" Linking Downey's performance in the current Tropic Thunder to a more sophisticated version of free-form sketch comedy routines, Rainer proceeds to discuss a cultural history of blackface and whiteface minstrelsy where he suggests that the "Be Black, Baby" sequence in Brian De Palma's Hi, Mom! helped to set a vaudvillean racial template that would morph into blaxploitation and rap music. Discussing Downey's riffs on race in the film, Rainer states that they "have an even earlier pedigree"...
These underground movies, mostly forgotten now, nevertheless set the template for the scabrous racial vaudeville that morphed into the blaxploitation cycle right on up through rap. For white audiences, especially guilty liberals, the message in these movies was explicit: "We really are your worst nightmare."
HISTORICALLY, white actors in blackface incarnated the cruelest of racial caricatures. (Even when Fred Astaire in Swing Time wore blackface in tribute to Bill Robinson, it was implicit that Bojangles could never star in such a film.) But one cannot talk about blackfaced white performers without at the same time summoning up the camouflages worn by black actors -- worn, in many cases, to have any career at all. Throughout all too much of Hollywood's sorry history, particularly pre- Sidney Poitier, black performers, with no decent roles available to them, wore minstrel masks too. They acted out the demeaning images whites set for them (and still, like Robinson himself, they frequently managed to be more electric than their often starched-white counterparts). By the time the '60s counterculture came along, attitudes had shifted. Black minstrelsy became a put-on -- a weapon. Be black, baby.
The August issue of the U.K. magazine The Word includes an interview with Brian De Palma by New York-based arts writer Tom Teodorczuk. The interview, published to coincide with the DVD release of De Palma's Redacted in the U.K., was conducted prior to the announcement last month that De Palma had signed on to direct The Boston Stranglers. The headline reads: "His Iraq movie was 'blatantly dumped', spits Brian De Palma. So now he's making another one."
"TALK ABOUT A LOOSE CANNON"In the interview, De Palma discusses his reasons for making Redacted:
With the Iraq war, we have destroyed a country. What the hell are we doing there? We've got over two million refugees wandering around in Syria and Oman and it's like, "Oops! Sorry!" The catastrophe we've caused in the world in the last eight years - talk about a loose cannon. The rest of the world must be going, "What are they going to do next?" I think we've overextended. Look at the British empire 100 years ago and how that ended up. There's something wrong with this picture. Should we be making money from oil, defense contractors and creating a tabloid version of the war?
"YOU'VE GOT TO TAKE SHOTS IN YOUR CAREER"
De Palma also discussed with Teodorczuk the public reaction to Redacted:
People react to the steam. You're always amazed when people don't look at what is on the screen, but I've noticed that a lot of times in my career. Instead they react to some political view or some notion of political correctness. This is another example of that. With Scarface, 20 per cent of the audience walked out when it was released. Some of the most commercial artists make a tremendous amount of money, everybody loves them and then when they die everybody forgets about them. Some of the most uncommercial artists, everybody's ranting and raving about them during their lifetime and yet often they make the movies that stick. You've got to take shots in your career.
"THEY CAN'T ALL BE HITS"
Discussing the public indifference to films about the Iraq war, De Palma said that people "just don't want to know about Iraq or feel conflicted about what we're doing there." Saying he's "never had a movie that was so blatantly dumped" in all his life, De Palma concluded that "They can't all be hits. Most of them aren't, and if you're making hits all the time, something may be very wrong with what you're doing."
PRINT THE LEGEND
When Teodorczuk asked him what his next film will be, De Palma stated that he was working on another script about Iraq (which we know is currently titled Print The Legend-- Teodorczuk writes that this interview took place "on a bitterly cold morning in downtown Manhattan," which indicates that it was probably in the winter while De Palma was still in the process of formulating ideas for this new film). De Palma described the project:
It has more to do with the embedded reporter stories and how the information is spun and influenced in a way that's completely the opposite of what is actually going on. In terms of how it has been reported, the war is completely spun homogenised propaganda and I feel that the press is just an arm of the administration and the big corporations that are profiting from this war. It will also feature some women soldiers. It's about what they do to people who tell the truth about the war and how they get discredited and destroyed. Like with the Valerie Plame affair. Joe Wilson said he went over there and they weren't buying yellowcake and yet that kept appearing in Bush's speeches the whole time. Then he goes to the New York Times and they destroy him.
THE BLUE AFTERNOONDe Palma also mentioned to Teodorczuk that he would like to film William Boyd's The Blue Afternoon. "It would make a fantastic movie," De Palma said. "It's a book I've loved for years."
"IT DOESN'T REALLY MATTER WHO THE NEXT PRESIDENT IS"
In his ever iconoclastic manner, De Palma discussed his anti-establishment view of politics when Teodorczuk asked him his take on the upcoming U.S. Presidential election:
Bush has got us into a tremendous amount of trouble but it doesn't really matter who the next President is. I'm not part of the liberal establishment that has a political agenda. I don't think the liberal establishment wants to take responsibility for this war. They blame it on Bush but they were complicit in prosecuting it. Do I have strong political views? You bet. I think the best way to express them is in your work and then get the hell off the stage. Then again, you don't make movies like Mission: Impossible because you have strong political statements to say about the CIA.
"WORSE THAN BEING DEAD IS BEING HOT"When asked by Teodorczuk if he'll ever make another blockbuster, De Palma discussed his ambivalence at working on genre pictures:
I don't know. I'm really at an age where I don't think I have to prove anything to anybody anymore, least of all myself. It's like, "Do you really want to go through all that?" Worse than being dead is being hot. But if you want to continue making movies, you have to make genre pictures every once in a while that make people a lot of money. Since I can get very interested in the visualization of action, I can work in those genres like with The Untouchables or Mission: Impossible. I do it every once in a while. Everybody says, "Oh, you're back", but it's not where my heart lies.
HUGO, LENI, KANE, NOLAN, ELLROY, DE PALMAMichael Guillen has riffed off a nice summary of the links between The Man Who Laughs, The Dark Knight, and The Black Dahlia in a two-part piece stemming from a recent screening of The Man Who Laughs at the San Francisco Silent Film Festival. In part one, Guillen describes in well-researched summary how Conrad Veidt's Gwynplaine inspired the creation of the Joker. Then, in part two, Guillen explores the themes that link The Man Who Laughs with The Black Dahlia and The Dark Knight. Discussing the "problematic erotic triangulation" between Lee, Bucky, and Kay in The Black Dahlia, Guillen writes:
That triangulation is articulated through a scene in De Palma's film where Lee, Bucky and Kay—in what Village Voice critic J. Hoberman terms "an unlikely date"—catch a screening of Leni's The Man Who Laughs. In a September 2006 interview with Daily Breeze reporter Jim Farber, Brian De Palma stated, "If this film works, it's because I stayed scrupulously on the Ellroy road. I didn't try to change things. What I did do was try to find visual equivalents for some of the things he's doing in the book, like introducing a scene from the German Expressionist silent film The Man Who Laughs, rather than having somebody have to explain what that key image is all about. I tried to keep very much to Ellroy's story structure and the way he explains things, which sometimes explains nothing." Expressionistic dualism, anyone? De Palma's strategy in this scene is to observe how The Man Who Laughs reveals the varied interiority of his three main characters. As Armond White delineates for Cineaste, "Bucky is transfixed, Lee is bemused and Kay is frightened—reflecting their individual response to life's horrors." (Cineaste, 12/22/06). Hoberman qualifies Kay's "agonized response to [Gwynplaine]'s scarred face" by reminding that the audience soon discovers she herself has been branded.
THE JOKER IS DRESSED TO KILLBy the way, we can add Keith Uhlich to the list of Dark Knight critics getting tons of hate mail for disliking the film. Uhlich does, however, make a De Palma reference in his review of the film at The House Next Door. Uhlich makes a quick comparison between the nightmare at the end of De Palma's Dressed To Kill, where Bobbi kills a nurse and then dons her uniform to escape a mental institution, and the Dark Knight sight of Heath Ledger's Joker moving through a hospital wearing a nurse's uniform.
POLAND COMPARES KNIGHT TO THE UNTOUCHABLES
Sure, we've seen plenty of critics compare The Dark Knight to De Palma's The Untouchables, but somehow we missed Dave Poland's early review of Nolan's film, where he stated that Nolan here is reaching for "a Godfather-esque effort" that nevertheless shoots itself in the foot by being too long, and yet not long enough. Poland writes: