A Brian De Palma double-feature this week on Midnight Screenings.
Brian De Palma has always fashioned himself a Hitchcock connoisseur, a bravura stylistic showman who cruelly and soullessly played with his actors (especially his actresses) without care or concern. Specifically, he updated Hitch by adding a touch of giallo-era crimson paint and a laxer standard of violence that allowed him to show what Hitch had to imply. A fact that sacrifices some of the naughtier, more suggestive implications of Hitch’s best works, and for his part, De Palma’s morbid fascination with death never reached the caustically challenging heights of Hitch at his best. He was always more of a surface-level lurid showman, a sideshow ringleader interested in puritanically wowing his audiences with sights of lusty blood and enough macabre thematic perversion to scare the devil himself. Continue reading