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He replied that he thought it had aged badly, losing what novelty it had when first released.I not only dislike his work, but am confused over the reception he has been given by critics whom I mostly agree with wholeheartedly.
AMY KEHR AARON HALL I MISS YOU MOVIE
After watching the movie my dad asked me what I thought about it. I saw The Untouchables, which is entertaining, but nothing that I feel any kind of love for.Īfter discussing this with my father, he persuaded me to watch Dressed to Kill, which deemed to devolve into a game of “spot the homage.” De Palma's homages seem to me too obvious and take me out of the movie watching experience. Mission to Mars, which as mentioned has an essay by the always articulate LRHB, is quite simply the worst movie I have ever seen in theaters, and one of the ten worst movies I've seen. But I don't get the love he's gotten on the film sites I visit. ”I have seen three of De Palma's films, and in all likelihood they are not a correct representation. Then Cerb Chaos checks in, reacting, I’m assuming, to the collection of rhapsodic writing referred and linked to in the “Critical Black Mass” post: “Blow Out … reminded me of Antonioni, both in its forensic epiphany and the reference to what Girish has already identified as a ‘cinephiliac moment’: when the night wind blows through the trees, replicated almost with tenderness in the scene where Travolta is recording the night wind.” To start, Maya connects the dots between Antonioni and Blow Out, a connection that goes well past a similarity in titles: But I also want to highlight those comments that I received that really serve to illuminate this director, who is so confounding and exasperating to some, and so exhilarating and compelling to others. I hope that my own thoughts, intended as a response to Cerb Chaos, can function on their own as a general consideration of why De Palma’s films most often (but sometimes do not) work for me, and therefore might be considered a worthy contribution to the snowballing impromptu blog-a-thon-style discussion of this great director. True, I have not seen such films as Carrie, Scarface, and Sisters, which are more often cited as his masterpieces, but after my experience I am not so excited to see them. ”I not only dislike (De Palma’s) work, but am confused over the reception he has been given by critics whom I mostly agree with wholeheartedly. But it was SLIFR reader Cerb Chaos who posed a query that finally got me into the fray:
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I’d just left everything in the comments column of my recent post, "Brian De Palma: Critical Black Mass." The comments there, from Maya, Tom Sutpen, TLRHB, all add up to an excellent consideration of how this director functions (and sometimes doesn’t function), especially in a critical world that seems to value someone like Sam Mendes more than it does a true soaked-in-cinema provocateur like De Palma. But then a message from Peet this afternoon reminded me that, actually, I had. There’s so much interesting going on about De Palma that I had been regretting not picking up the ball and running with it myself. (If anyone knows of any other good writing on De Palma that could use a link, please let me know!) (Peet also points to where snippets of Mark Isham's score for The Black Dahlia can be heard.) Peet muses about paradox in De Palma's work on his blog, Lost In Negative Space, an off-shoot of his excellent film criticism site 24 Lies A Second. Now you can add Peet Gelderblom’s two cents to the coffers of fine writers checking on De Palma. I’ve already mentioned Slant’s Auteur Fatale series, as well as well-considered observations from That Little Round-headed Boy (whose piece on Mission to Mars even gets a mention from the oracle at De Palma a la Mod), Girish and Peter Nellhaus. There does seem to be a bit of Brian De Palma blowing in the cinematic winds these days leading up to the release of The Black Dahlia, and it’s taking form in a lot of interesting posts and comments on the director and his films on some very smart blogs.