Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
---|
E-mail
Geoffsongs@aol.com
-------------
Recent Headlines
a la Mod:
Listen to
Donaggio's full score
for Domino online
De Palma/Lehman
rapport at work
in Snakes
De Palma/Lehman
next novel is Terry
De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"
Supercut video
of De Palma's films
edited by Carl Rodrigue
Washington Post
review of Keesey book
-------------
Exclusive Passion
Interviews:
Brian De Palma
Karoline Herfurth
Leila Rozario
------------
------------
« | July 2013 | » | ||||
S | M | T | W | T | F | S |
1 | 2 | 3 | 4 | 5 | 6 | |
7 | 8 | 9 | 10 | 11 | 12 | 13 |
14 | 15 | 16 | 17 | 18 | 19 | 20 |
21 | 22 | 23 | 24 | 25 | 26 | 27 |
28 | 29 | 30 | 31 |
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
For a change, this trailer does not mention that the film is "from the director of Scarface and The Untouchables," but simply "from acclaimed director Brian De Palma." Well, of course-- he's the director of Passion, which I've seen twice now on DVD (imported from France), and which I can say is excellent. I'll be writing up a full spoilerific essay about it sometime in July, but in brief, Passion is a whip-smart De Palma thriller with a magnificent split-screen sequence at its center, and a killer performance by Rachel McAdams. It's the most fun, relentless wind-up toy of a movie De Palma has put on screen since Raising Cain (Femme Fatale, which I like better than either of these, is fun, too, but not quite as wound-up; it sort of takes its own charming time). Looking forward to seeing this on the big screen.
Meanwhile, Cape Cod Times' Tim Miller caught Wednesday night's screening of Passion at the festival. "The film is convoluted," states Miller, "where you often don't know whether you're watching a dream or reality, which is fine, but here it seems more than a little forced. No one ever accused De Palma of being subtle. But that can be a good thing, too: You can't stop watching Passion, wondering what bizarre thing will happen next."