Obsession (1976) - News Poster

(1976)

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Scores On Screen. Telekinetic Tunes: Pino Donaggio’s Score for Brian De Palma’s "Carrie"

  • MUBI
High school girls are cheering, yelling, laughing as they take part in a game of volleyball, an everyday scene that could be taking place in any high school, anywhere. The girls are seemingly confident; strong and resilient. That is, all the girls bar one, whom we soon learn is named Carrie (Sissy Spacek). After she misses a shot that causes her team to forfeit the match, a chorus of defeated whines erupts and the girls reprimand Carrie en route to the locker room. “Look at her. Just standing there!” Such is their disdain for her very existence. One girl who is especially disgusted by the Carrie’s presence even turns back and glares at her, spitting aggressively, “You eat shit!” Before we have time to process the words directed at Carrie, or to speculate as to the girls’ reasons for them, the voices of her angry teammates and the mood
See full article at MUBI »

Close Encounters Of The Third Kind at 40 – an Appreciation

Article by Dane Eric Marti

Sometimes a film will speak directly to a person in an audience: A preternatural, unearthly tendril of luminous light tapping you on the shoulder, a benevolent yet mysterious voice reminding you of an obligation, or a musical, colorful Dream Message entering your eyes and speaking to your soul with wonder, awe and truth. Like other Art forms, film can do amazing things.

For me, there are definitely a few choice films of overwhelming, pristine power. Yet one cinematic work is not just great, deeply special to me: ‘Close Encounters of the Third Kind.’ Directed by the Wonderkind, Steven Spielberg, directly after his landmark suspense-adventure film, ‘Jaws’.

Now, his new flick, released in 1977, also dealt with the fantastic, with riveting moments of terror… but its endgame was something quite dissimilar.

I think it would take either a first-rate Psychologist or an Exorcist with a lot of
See full article at WeAreMovieGeeks.com »

Competition: Win the Arrow Video release of ‘Raising Cain’

To celebrate the release of Raising Cain – out Dual Format 30th Jan. 2017 – we are giving away a copy courtesy of Arrow Video!

Having spent the latter half of the eighties trying out new styles of filmmaking – Wise Guys’ knockabout comedy, The Untouchables’ prestige gangster pic, Casualties of War’s Vietnam movie and The Bonfire of the Vanities’ satirical misfire – Brian De Palma returned to what he knew best, the Hitchcockian psycho-thriller, for Raising Cain.

John Lithgow plays three roles: child psychologist Carter, his evil twin brother Cain, and their Norwegian father, Dr Nix, who likes to experimental on the young. Carter’s wife is concerned that her husband isn’t quite paying their daughter the right kind of attention; she’s also having an affair which, upon discovery, threatens to send him into a psychotic rage…

A relentless blend of murder, multiple personalities, cross-dressing, crazed parents, bizarre dream sequences and stunning cinematic assurance,
See full article at Blogomatic3000 »

See the Influence of Alfred Hitchcock in the Films of Brian De Palma in New Video Essay

“He is the one who distilled the essence of film. He’s like Webster. It’s all there. I’ve used a lot of his grammar,” Brian De Palma says of Alfred Hitchcock. Indeed, when we looked back at the Blow Out director’s entire filmography this past summer, there was more than a few mentions of The Master of Suspense. It’s not just his riff on Vertigo with Obsession and Body Double or his many homages to Psycho in Dressed to Kill — the DNA of Hitchcock can be found in virtually all of De Palma’s films.

More than just an imitation though, he was able to build on his techniques and formal expertise to further the cinematic language of suspense, and today we have a video essay that shows his sprawling influence. “Hitchcock & De Palma: Split Screen Bloodbath” by Peet Gelderblom (via RogerEbert.com) is an
See full article at The Film Stage »

Paul Schrader Talks Working With ‘Post-Rules’ Generation and Past Feuds on Bret Easton Ellis’ Podcast — Listen

Paul Schrader Talks Working With ‘Post-Rules’ Generation and Past Feuds on Bret Easton Ellis’ Podcast — Listen
Paul Schrader’s filmmaking credits include some of the most iconic films of the 20th century, from “American Gigolo” to “Taxi Driver” and “Raging Bull.” In the latest episode of the Bret Easton Ellis Podcast, Schrader discusses how the creation of his new film, “Dog Eat Dog,” is part of a “post-rules” generation, his screenwriting methods and the fallouts he’s had with some of his contemporaries.

In “Dog Eat Dog,” Schrader says he wanted to explore the current state of the crime film genre, something that’s changed in a post-Scorsese and post-Tarantino world. For his latest film, Schrader gathered a group of people from fields outside the film industry to work on it. He calls them the “post-rules” generation: A group of filmmakers who aren’t even aware of the classical film rules that have been utilized, broken and codified over the decades. For these filmmakers, says Schrader,
See full article at Indiewire »

Event Report: Carrie 40th Anniversary Cast & Crew Reunion Screening

  • DailyDead
Last Friday night, Daily Dead had the distinct pleasure of attending the 40th anniversary screening of Brian De Palma’s Carrie, presented by Scream Factory, weSPARK, and The Theatre at Ace Hotel in downtown Los Angeles. The event was packed with eager fans of De Palma’s Stephen King adaptation, and there was a great Q&A after the screening hosted by Bryan Fuller, who moderated an engaging discussion between Carrie co-stars Piper Laurie, Nancy Allen, P.J. Soles, Doug Cox, Noelle North, and editor Paul Hirsch, who also collaborated with De Palma throughout his career on films including Phantom of the Paradise, The Fury, Sisters, Obsession, Blow Out, Raising Cain, and the original Mission: Impossible.

Prior to the screening, this writer had the opportunity to speak briefly with Allen—who also serves as the executive director of weSPARK—about reuniting with her Carrie family for such a truly special occasion.
See full article at DailyDead »

De Palma review

Ryan Lambie Published Date Friday, September 23, 2016 - 06:17

If director Brian De Palma was sometimes criticised for settling for style over substance in his thrillers, this feature-length documentary about his career is reassuringly basic in its approach. Barring archive footage and one, solitary moment, directors Noah Baumbach and Jake Paltrow divide their retrospective between sequences from De Palma’s movies and interviews with the filmmaker himself, seated in front of a grey fireplace.

It’s the kind of move that could be regarded as lazy or tentative in some circumstances, but Baumbach and Paltrow are shrewd enough to recognise that a director known for his technical flourishes needs room to breathe; and besides, De Palma and his movies are interesting enough subjects that they hardly need further embellishment.

Even De Palma’s structure is straightforward: we start at the beginning, when the future director of Carrie and The Untouchables was a kid,
See full article at Den of Geek »

The Search for Family in ‘There Will Be Blood,’ Harmony Korine’s New Ad, Music of ‘Twin Peaks’ & More

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Edward Yang’s little-seen The Terrorizers will get its first theatrical run at BAMcinematek from October 21 through 27.

Watch a video essay on the search for family in There Will Be Blood:

Little White LiesNick Chen on how Brian De Palma influenced the films of Noah Baumbach:

If Hitchcock is a language, then De Palma has been fluent in it for decades: Obsession is Vertigo, Body Double is Rear Window, and so on. “I was the one practitioner that took up the things he pioneered,” De Palma asserts in Baumbach’s film. Alternatively, there’s Blow Out – often deemed the most representative of his aesthetic – which
See full article at The Film Stage »

‘Get To Know Your Rabbit’: Brian De Palma’s Transitional Fiasco

There’s an alternate version of Brian De Palma’s career where 1972’s Get to Know Your Rabbit stands as one of the most seminal entries. The last of De Palma’s early-70s comedies, the film is most readily recognized as a prelude to his directorial turning point. Just a year later, he began a string of legacy defining films: Sisters, Obsession, and Carrie.

But this early-period black sheep is more than a mere historical footnote. It’s the transitional fiasco that De Palma needed. Coming after the modest hits of Greetings and Hi, Mom!, this was the big leagues, a chance for the nascent but rising director to work with Hollywood and establish himself as a conjunction of artistic and financial impulses.

It’s only inevitable that even De Palma’s crowd-pleasing comedy scans as commentary about the prison of working with studios. In an impish reversal of the artist’s own circumstances,
See full article at The Film Stage »

‘Raising Cain’: Brian De Palma’s Audacious Role-Playing Experiment

These days, there’s the buffer of Redacted to shore up Brian De Palma’s credentials as a Godardian ironist. Perhaps in the time when it was fashionable for high-minded critics to bolster De Palma’s significance while decrying the filmmakers he cited as influences, the takedowns by card-carrying auteurists might have seemed a necessary antidote to all the doting. De Palma long represented the negative end of a New Hollywood excess, championed by one side of a polemic and lambasted by the other.

De Palma’s bad taste and his love of schlock discounted him from the pantheon erected by auteurists, while the same characteristics attracted the attentions of less-serious-minded populist critics, who saw the director’s near-indistinguishable alternations between facetiousness and sincerity as a plus. Still, even these De Palma diehards generally struggled to explain why he was significant, outside of an anti-intellectual impulse towards celebrating baroque kitsch
See full article at The Film Stage »

‘Obsession’: Brian De Palma’s Ontology of Cinema

The camera tracks towards a gate leading to a Victorian mansion, the shot coming to center on the home’s front door. It’s the evening and lights are on in the house, tinting the window in the door a translucent yellow. This block of color is interrupted by an alternation of total blackness and person-shaped silhouettes, evoking the action of a shutter masking a frame of a film strip as it passes by the aperture of a projector. This shadow play veils the activity occurring inside the house: a slideshow of photographs. Thus begins the post-opening-credits scene of Brian De Palma’s Obsession. In this reading, it functions as a metonym of the film’s concern with dissimulation, an abiding theme in De Palma’s body of work. Perhaps, in bringing to mind the operation of the film apparatus, this image is also the director’s ontology of cinema.
See full article at The Film Stage »

Why I Can’t Love Brian De Palma (Though I’ve Always Wished I Could)

Why I Can’t Love Brian De Palma (Though I’ve Always Wished I Could)
Back when I was a kid, and a lot more naïve about how the motion picture industry works, I had expectations of filmmakers that were completely unreasonable in their very reverence. If I saw a masterpiece, and then placed the person who directed it high atop my superstar pedestal of art heroes, I longed for him or her to go forward and make 10 or 20 more masterpieces (hey, why not!), and I always felt keenly disappointed if it didn’t work out that way. It was hard for me to wrap my head around the idea that even a movie as enthralling and visionary and apparently brilliantly orchestrated as “The Godfather” or “Nashville” was, among other things, a kind of fantastic accident: a coming together of elements that even the director isn’t always (or ever) in full control of.

But when it came to the art heroes who let me down,
See full article at Variety - Film News »

The Fury: Brian De Palma’s underrated, explosive movie

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Director Brian De Palma followed Carrie with another gory vaunt into the supernatural. Here's why The Fury deserves a revisit...

When it comes to telekinesis and gory visual effects, the movie that generally springs to mind is David Cronenberg’s 1981 exploding head opus, Scanners. But years before that, American director Brian De Palma was liberally dowsing the screen with claret in his 1976 adaptation of Carrie - still rightly regarded as one of the best Stephen King adaptations made so far. A less widely remembered supernatural film from De Palma came two years after: De Palma’s supernatural thriller, The Fury.

The Fury was made with a more generous budget than Carrie, had a starrier cast (Kirk Douglas in the lead, John Cassavetes playing the villain), and it even did pretty well in financial terms. Yet The Fury had the misfortune of being caught in a kind of pincer movement between Carrie,
See full article at Den of Geek »

The Summer of De Palma: A Career-Spanning Retrospective

Bringing up Brian De Palma as if he’s still some kind of marginalized or misunderstood figure is now heavily contentious, not just in the sense that “the discussion” has, with the presence of the Internet, become so heavily splintered that every figure has at least seem some form of reappraisal, but in that this is being discussed on the occasion of a new documentary and retrospectives in New York, Chicago, Austin, and Toronto (the lattermost of which this symposium will be timed to). Yes, the line has probably tipped past “divisive,” but that doesn’t mean there still isn’t room for debate.

It’s not hard to understand why De Palma’s work strikes a cord with a new cinephilia fixated on form and vulgarity. Though, in going film-by-film — taking us from political diatribes against America to gonzo horror to gangster films your parents watch to strange European
See full article at The Film Stage »

NYC Weekend Watch: ‘Femme Fatale,’ Hou Hsiao-hsien, ‘Pusher,’ Maya Deren & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

The Brian De Palma retrospective has its best weekend yet: Carlito’s Way and Raising Cain on Friday; Body Double and Femme Fatale on Saturday; and, this Sunday, Mission: Impossible, Snake Eyes, and the underseen, Paul Schrader-penned Obsession.

A program of Chuck Jones shorts plays on Saturday; Party Husband screens this Sunday.

Museum of
See full article at The Film Stage »

15 Things We Learned From the 'De Palma' Documentary

15 Things We Learned From the 'De Palma' Documentary
The setup to De Palma, Noah Baumbach and Jake Paltrow's engrossing new documentary about the life and career of controversial filmmaker Brian De Palma (opening in theaters on June 10th), couldn't be simpler: The 75-year-old director dissects most of his films and shares analyses and behind-the-scenes anecdotes in between clips. Forget talking-head testimonials from collaborators, flashy visuals or dramatic reenactments. You just get the man himself, looking back and holding court in all his verbose, insightful glory.

And that is more than enough. Known primarily for his obsession with voyeurism,
See full article at Rolling Stone »

Oscar-winning cinematographer Vilmos Zsigmond has died by Anne-Katrin Titze - 2016-01-05 22:58:54

Vilmos Zsigmond shot François Truffaut and Bob Balaban in Close Encounters Of The Third Kind

Cinematographer Vilmos Zsigmond, who won an Oscar for his work on Steven Spielberg’s Close Encounters Of The Third Kind, died on New Year's Day at his home in Big Sur, California at the age of 85. The legendary collaborator with Robert Altman (McCabe And Mrs. Miller, The Long Goodbye), Brian De Palma (Blow Out. Obsession, The Bonfire Of The Vanities) and Woody Allen (Cassandra’s Dream, You Will Meet A Tall Dark Stranger, Melinda And Melinda), also received Oscar nominations for Michael Cimino’s The Deer Hunter, Mark Rydell's The River and De Palma's The Black Dahlia. The Cannes Film Festival in 2014 presented him with a Lifetime Achievement Award.

Vilmos Zsigmond, with fellow cinematographer Yuri Neyman (Liquid Sky) founded the Global Cinematography Institute in 2012. Two-time Oscar-winning cinematographer Haskell Wexler for Hal Ashby's
See full article at eyeforfilm.co.uk »

Celebrated Cinematographer Vilmos Zsigmond Passes Away Aged 85

Vilmos Zsigmond, the celebrated cinematographer behind such classics as The Deer Hunter and Steven Spielberg’s Close Encounters of the Third Kind, has died aged 85.

News of Zsigmond’s passing was confirmed by his long-time business partner Yuri Neyman, revealing that the Oscar-winner died on Friday in Big Sur, California.

Born and raised in Hungary in 1930, Zsigmond’s eye for cinema started early, when he would go on to study at the Academy of Drama and Film in Budapest, earning a Master of Arts in cinematography. After nurturing a series of low-key B-movies in Austria, his big break arrived in the form of Robert Altman’s McCabe & Mrs. Miller in the early 70s, before earning critical acclaim for his work on Close Encounters in 1977, along with The Deer Hunter the following year.

Throughout his long career, Zsigmond also stepped up to the plate to try his hand at directing, though
See full article at We Got This Covered »

Rip Legendary Master of Light Vilmos Zsigmond

Rip Legendary Master of Light Vilmos Zsigmond
Vilmos Zsigmond, one of Hollywood’s greatest cinematographers, died on New Year’s Day at the age of 85. Ironically, his death came less than a week after the death of Haskell Wexler, another great cinematographer of the 1970s. (Check out the memorable Budapest episode of Anthony Bourdain's "Parts Unknown" which focused on Zsigmond and his 1956 escape after the Soviet invasion with canisters of film under his arm.) Credit for good films is usually given to the director and then to the actors. Yet Zsigmond’s stamp on Michael Cimino’s “The Deer Hunter” and “Heaven’s Gate,” on Steven Spielberg’s “Close Encounters of the Third Kind” for which he won his only Academy Award, on Brian De Palma’s “Obsession” and “Bonfire of the Vanities,” and, most clearly on Robert Altman’s “McCabe and Mrs. Miller” is unmistakable. Asked what makes good cinema by Filmmaker magazine two years
See full article at Thompson on Hollywood »

'The Deer Hunter' cinematographer Vilmos Zsigmond dies aged 85

  • ScreenDaily
'The Deer Hunter' cinematographer Vilmos Zsigmond dies aged 85
Visionary cinematographer Vilmos Zsigmond, who escaped his native Hungary to set up in Hollywood and became one of the most acclaimed practitioners of his generation, has died aged 85 in Big Sur, California.

The cinematographer fled Budapest in 1956 with his hidden footage of Soviet forces crushing the Hungarian Revolution and along with his dear friend and fellow émigré the late László Kovács went on to establish a brilliant career in the United States.

Zsigmond and Kovács got their foothold shooting B-movies under the Americanised names William Zsigmond and Leslie Kovacs before they embarked on more illustrious projects.

Zsigmond’s career spanned collaborations with Steven Spielberg, Robert Altman, Martin Scorsese, Brian De Palma and Woody Allen.

He shot Altman’s McCabe & Mrs Miller and won the Oscar in 1978 for Spielberg’s Close Encounters Of The Third Kind. He was nominated subsequently for The Deer Hunter, The River and The Black Dahlia, a collaboration with frequent associate Brian De Palma.

Zsigmond
See full article at ScreenDaily »
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