Of all the filmmakers who came to be collectively known in the 1970’s as the movie brats, Brain DePalma was the one who liked to push most the cinematic buttons of both critics and audiences. He delights in making his audience uncomfortable. With a sardonic wit and an ice cold point of view, DePalma has never been a middle of the road filmmaker, critics and audiences either love his work or hate it. He is viewed as either a violent, immoral rip-off artist who hates woman or a visionary artist who flies in the face of conservative thinking enjoying the shock and loathing his films have sometimes unleashed over the years. The more uncomfortable the audience is the better DePalma likes it. Like Alfred Hitchcock, DePalma’s films are planned well in advance with each detail written into the script. What you read is what you get, little changes. Editing is just putting the finished pieces together and not an exploration to potentially discover alternative new themes or ideas during the process.
Like Hitchcock, Brian DePalma’s films are a voyeurs’ delight. Examples abound, the slow motion dream like opening shot of the girls’ locker room in “Carrie” or the TV game show called “Peeping Tom” in “Sisters.” In one of his earlier films, “Greetings” Robert DeNiro’s character is a porn filmmaker and in “Body Double,” Craig Wasson’s Jake Scully watches a beautiful, sexy neighbor undress in front of her window. Hitchcock himself gave us “Psycho” where the camera works its way into a hotel room catching Sam Loomis and Marion Crane finishing up a lunch time affair and later just before Norman murders Marion Crane he is seen watching her through a peephole in the motel room next to hers. Hitch also gave us the ultimate voyeur movie with “Rear Window.” Continue reading