Rank Brian DePalma's Films

It's never had an official LP release so it might have been a bootleg! Weirdly it's one of Pino Donaggio's most sought after scores but it's only ever been issued once on CD by Intrada in an edition of 3,000, and it never shows up anywhere. There's a compilation CD from Milan that is a sort of "best of" his scores for DePalma, but it doesn't contain any of the key cues (namely the excellent Tangerine Dream rip-off "Telescope").

do you mean a physical copy? or just a download

Big fan of the Lovelock Pino Grigio edit, which I think is Steve Moore from Zombie?

https://www.youtube.com/watch?v=EhV2PKli1S8

x-post - I'd be thrilled with just a download; the CD rarely pops up and when it does it goes for hundreds of dollars.

That Steve Moore cut is great.

x-posting from detrius thread: http://reverseshot.org/features/2305/two_cents_2017

Worst De Palma Critic: De Palma

Take it from a staunch Brian De Palma addict: Brian De Palma is the person you least want to hear talk about le cinéma de Palma. Sitting awkwardly before a fireplace mantle in Noah Baumbach and Jake Paltrow’s talking-head doc, the now enormous De Palma holds court, going through his films chronologically, one by one, relating some terrific anecdotes, and overall being a surprisingly genial guide. The result is an aesthetically impoverished documentary about a great visual thinker—a disconnect hard to get over—but more detrimentally, his perspective on his own work’s merits is mostly tied to financial success (as is the case with many American filmmakers, including Spielberg). Thus, De Palma reiterates that his greatest accomplishments are benchmarks Carrie, Dressed to Kill, Scarface, The Untouchables, and Mission: Impossible, while such relative box-office disappointments as The Fury, Raising Cain, and Femme Fatale get short shrift—especially the latter, which barely rates any screen time even though any true De Palma fan knows it’s a career-defining masterwork. There’s a purity of vision and concept to Baumbach and Paltrow’s approach for sure: wind up the man and let him talk. But if there’s any filmmaker whose work is worthy of a more dialectical approach it’s De Palma, one of our most hotly debated, divisive directors. Like any artist, his work benefits from considered, serious criticism. (If you really care about De Palma, read Chris Dumas’s brilliant recent book Un-American Psycho, an engaging and endlessly revealing political and aesthetic study.) De Palma provides us with a rare home visit with an elusive figure, but its anti-critical approach left me thirsty. —MK

It seemed to me from the documentary that he was prouder of Blow Out and Casualties of War than almost anything he'd ever done, and both of those were commercial flops.

xxp i think this works? http://download-soundtracks.com/movie_soundtracks/body-double-soundtrack-by-pino-donaggio/

That Reverseshot take does not seem accurate to me.

Also Femme Fatale is p bad

(iow Clemenza otm)

I got a massive virus warning from that download-soundtracks site - a million questionable pop-ups started launching and my computer was huffing and puffing.

Fair enough, I guess, but it's frustrating when you're happy to buy something that has been available before but isn't anymore!

Maybe Death Waltz or one of those companies will reissue it someday...

xp yeah IIRC the film he seemed proudest of was Carlito's Way which was hardly a box office smash so basically agree with everyone above that Reverse Shot seems to suck at watching films. I felt like all the films got pretty equal time and if anything De Palma seemed pretty ambivalent about some of the most successful stuff which was more work for hire than personal.

I idly got around to watching the rest of Carlito's Way last night and conventional wisdom seems m/l correct to me - it takes a bit too long/is excessive given the plot/material but what does work works really well and there are a number of bravura scenes that are top tier De Palma, esp the ending sequence and the final shot where the advertisement comes to life.

loved the documentary! i mean i didn't know about the De Niro/film school stuff so that was fascinating. i liked how he said even he didn't want to sit through Casualties.. in the editing room as it was so grim.

Whoa.

http://www.hardcasecrime.com/books/bk160/cover_big.jpg

wtf?!

Just watched Obsession for the first time on TCM. I dug it.

Happy 83rd birthday perv-ish suspense director

It's Brian De Palma's 83rd birthday, so here are my rankings pic.twitter.com/tlpGPS5Q2P

— Eric Henderson (@ephender) September 11, 2023

Hollywood Suite here (a four-channel thing you get with basic cable) has Carrie on 281, Scarface on 282, and Snake Eyes (followed by Raising Cane) on 283. That's a lot of fulminating on 282/3.

My own list.

Just watched Obsession for the first time on TCM. I dug it.

I'm not a DePalma fan, but that's the one I like best. It's not his most technically accomplished film, but it may embody his work better than anything else he's done, in a way that can be seen as critical of his vision (or lack thereof).

DePalma's harshest critics argue that DePalma thinks he's Hitchcock even though he lacks Hitchcock's genuine fascination with human behavior (or what makes us human). Some claim he's more interested in duplicating Hitchcock's films than creating anything personal himself. One of DePalma's favorite films is Vertigo, and Obsession is obviously heavily inspired by it. Some may even dismiss it on the grounds that it's DePalma trying to remake Vertigo, just as Sisters was a pastiche of other Hitchcock films.

If you believe there's a lot of truth to that, I would say that even though Obsession repeats the same approach, the context makes it far more engaging. Mirroring Scottie's relationship to Madeleine, here is DePalma fixated on a film that he not only adores but is compelled to reproduce as closely as he can, short of a straight up remake. If it seems too close to a rip-off, that's the point - it's not lack of imagination so much as a perpetual compulsion on DePalma's part, telegraphed by a scene in Obsession when one of the main characters is working on an art restoration - she wonders if she should try holding on to an original element of the work that is very degraded, and her suitor tells her to "hold on to it." The character is obviously echoing his own inability to let go of the wife he's lost (and will try replacing with a lookalike), but this could apply to DePalma's filmmaking in Obsession. De Palma even gets Hitchcock's longtime collaborator Herrmann (who scored Vertigo and already scored Sisters for DePalma) to once again do the score here, and to drive the point home, DePalma even used Vertigo's score as a temp track in order to convince a producer to let him hire Herrmann.

At worst, you can say it sounds like an exercise in trying to replicate a film that DePalma could never approach, giving us a hollow thriller instead of a true, disturbing masterpiece with a deeply felt tragedy. Scottie trying to revive Madeleine through his relationship with another woman could even be thought along the same lines - that is, what's going on between Scottie and Judy is the result of necrophilia instead of a great love. But Judy really is in love with Scottie and there's a terrible yet honest sadness in how she allows Scottie to do something so awful to her. I'm not moved by Obsession the way I am by Vertigo, but I find it compelling for what it sees in Vertigo and what it regurgitates.

And thanks to Herrmann, Obsession does have real feeling - his score articulates beautifully what's going on between the two romantic leads. The best is when Robertson goes back and follows her after work. Not a word is exchanged, he stays behind her. It builds to a marvelous peak, when she goes into her home and he comes out on the street. Watch as he walks and pulls up, and how the music shifts and subtly augments that moment. His back's to you and he's in long shot, but with that bit of walking in synch with that perfect music, you can feel Robertson's heart begin to flutter. And then the killer is when we fade to a shot that drifts down from a ceiling to Robertson, who's in the foreground of a deep focus shot. As that camera floats down, listen to those soft, stray notes plucked on the soundtrack. When we finally land on Robertson (seen in profile, deep in thought), you can feel his mind miles away, thinking only of her.

Watch that scene alone and without music - what's going on is still clear, but you don't feel the intoxicating pull that's swallowing him up. It could be a cold case of stalking that elicits no empathy. That changes with Herrmann's score.

One more thing about the film - Paul Schrader's screenplay originally called for a Patti Page song, "Changing Partners," to be played during Michael’s opening dance with his wife and daughter, but the rights would have cost about $15,000. Schrader said “the money thing that hurt me most in the movie was that I lost (the song), because that to me was just everything that the movie was about… ‘I’ll keep changing partners till you’re in my arms again.'” In its place, Herrmann composed a waltz theme that recurs at the end, when De Palma’s camera swirls around the reunited father and daughter.

Here's the recording in question and as much as I like Herrmann's score (a masterpiece in itself), this feels pretty perfect, with a sense of humor that puts it on par with Kubrick's musical choices IMHO.