ड्रेस्ड टू किल

Kate Miller (Angie Dickinson) is having problems in her marriage and otherwise--enough to see a psychologist. When her promiscuity gets her into trouble, it also involves a bystander, Liz Blake (Nancy Allen), who becomes wrapped up in an investigation to discover the identity of a psycho killer.

Dressed to Kill is somewhat important historically. It is one of the earlier examples of a contemporary style of thriller that as of this writing has extensions all the way through Hide and Seek (2005). It's odd then that director Brian De Palma was basically trying to crib Hitchcock. For example, De Palma literally lifts parts of Vertigo (1958) for Dressed to Kill's infamous museum scene. Dressed to Kill's shower scenes, as well as its villain and method of death have similarities to Psycho (1960). De Palma also employs a prominent score with recurrent motifs in the style of Hitchcock's favorite composer Bernard Herrmann. The similarities do not end there.

But De Palma, whether by accident or skill, manages to make an oblique turn from, or perhaps transcend, his influence, with Dressed to Kill having an attitude, structure and flow that has been influential. Maybe partially because of this influence, Dressed to Kill is also deeply flawed when viewed at this point in time. Countless subsequent directors have taken their Hitchcock-like De Palma and honed it, improving nearly every element, so that watched now, after 25 years' worth of influenced thrillers, much of Dressed to Kill seems agonizingly paced, structurally clunky and plot-wise inept.

One aspect of the film that unfortunately hasn't been improved is Dressed to Kill's sex and nudity scenes. Both Dickinson and Allen treat us to full frontal nudity (Allen's being from a very skewed angle), and De Palma has lingering shots of Dickinson's breasts, strongly implicit masturbation, and more visceral sex scenes than are usually found in contemporary films. Quite a few scenes approach soft-core porn. I'm no fan of prudishness--quite the opposite. Our culture's puritanical, monogamistic, sheltered attitude towards sex and nudity is disturbing to me. So from my perspective, it's lamentable that Dressed to Kill's emphasis on flesh and its pleasures is one of the few aspects in which others have not strongly followed suit or trumped the film. Perhaps it has been desired, but they have not been allowed to follow suit because of cultural controls from conservative stuffed shirts.

De Palma's direction of cinematography and the staging of some scenes are also good enough that it is difficult to do something in the same style better than De Palma does it. He has an odd, characteristic approach to close-ups, and he's fond of shots from interesting angles, such as overhead views and James Whale-like tracking across distant cutaways in the sets. Of course later directors have been flashier, but it's difficult to say that they've been better. Viewed for film-making prowess, at least, the museum scene is remarkable in its ability to build very subtle tension over a dropped glove and a glance or two while following Kate through the intricately nested cubes of the Metropolitan Museum of Art.

On the other hand, from a point of view caring about the story, and especially if one is expecting to watch a thriller, everything through the museum scene and slightly beyond might seem too slow and silly. Because of its removal from the main genre of the film and its primary concern with directorial panache (as well as cultural facts external to the film), the opening seems like a not very well integrated attempt to titillate and be risqué. Once the first murder occurs, things improve, but because of the film's eventual influence, much of the improvement now seems a bit clichéd and occasionally hokey.

The performances are mostly good, although Michael Caine is underused, and Dickinson has to exit sooner than we'd like (but the exit is necessary and very effective). Dressed to Kill is at least likely to hold your interest until the end, but because of facts not contained in the picture itself, hasn't exactly aged well. At this point it is perhaps best to watch the film primarily as a historical relic and as an example--but not the best, even for that era--of some of De Palma's directorial flair.

A great suspense movie with terrific slow camera-work adding to the dramatics makes this a treat to watch and enjoy. Director-writer Brian de Palma does a super Hitchcock-imitation (many called it a "ripoff") with this film and the 2.35:1 widescreen DVD is a must to fully appreciate the camera-work (and several scenes with people hiding on each side which are lost on formatted-for-TV tapes).

The downside of the movie, at least to anyone that has some kind of moral standard, is the general sleaziness of all the characters, including the policeman played by a pre-NYPD Dennis Franz (who has hair here!).

The opening scene is still shocking with a fairly long shower scene of Angie Dickinson that is quite explicit, even 25 years after its release. The film has several erotic scenes in it as Dickinson (if that is really her on the closeups) and Nancy Allen are not shy about showing their bodies.

There is not much dialog in the first 20 minutes and no bad language until Franz enters the picture after the murder. The first 36 minutes are riveting and even though it's apparent who the killer is, it's still very good suspense and fun to watch all the way through, particularly for males ogling the naked women.

"Dressed to Kill" is an intense, dreamy, erotically charged thriller, and clearly another of filmmaker Brian De Palma's homages to the works of Alfred Hitchcock. It manages the neat trick of being fairly classy and rather trashy at the same time, as De Palma brings all of his directing skill to bear. This may not be his best but it's certainly one of his most well known, thanks in no small part to the excellent star trio of Michael Caine, Angie Dickinson, and Nancy Allen; Allen, of course, was married to De Palma at the time.

Caine plays an eminent psychiatrist, Dr. Robert Elliott, and Dickinson portrays Kate Miller, one of his patients who's not getting any sexual fulfillment in her life. Unfortunately, once she is able to experience an afternoon of passion the satisfaction is short lived, as a tall, cold looking blonde woman in sunglasses and trenchcoat slashes her to death with a straight razor. (This has to rank as one of the scariest ever elevator rides captured on film.) A witness on the scene is high priced call girl Liz Blake (Allen), who's accused of the crime after stupidly picking up the murder weapon. So she ends up working with Kate's son Peter (Keith Gordon) to try to identify the woman, who Liz and Peter guess to be another of Elliott's patients.

In the opening minutes of his film De Palma shows you what you're going to be in for, showing Dickinson pleasuring herself in the shower (intercutting shots of Dickinson with those of a body double) until a male stranger materializes behinds her and starts forcing himself on her. The combination of sex and danger is always stressed in this movie; as we will learn our killer has some severe psycho sexual problems. There are some highly memorable sequences, such as an extended seduction taking place inside an art museum, that being followed by a steamy coupling in the back of a cab. Other aspects that make it effective are Jerry Greenberg's editing (this was the man that cut "The French Connection", after all), Ralf Bode's widescreen cinematography, and Pino Donaggio's haunting music.

The actors each get an impressive showcase; both Dickinson and Allen look amazing to boot. Included in the cast are Dennis Franz as the investigating detective, David Margulies as the psychiatrist who explains everything for us in the end in case we didn't already get it, William Finley who does some uncredited voice work, and Brandon Maggart in a brief bit as a john.

Overall, the film has a definite ability to get under one's skin. It's often genuinely spooky and could easily shock more sensitive viewers due to the level of sexual frankness on display. While subtlety may be in short supply, it's hard to deny the ability of "Dressed to Kill" to manipulate us into a state of excitement and expectation.

Eight out of 10.

'Dressed To Kill' was Brian De Palma's third Hitchcockian thriller, and his most successful. I don't necessarily mean artistically successful, but it still remains one of his best known movies, and is the one on which his reputation as "that Hitchcock" guy mainly rests on. De Palma has made all kinds of movies in his long career but it says a lot for the impact 'Dressed To Kill' had on audiences for him to be stereotyped like that by many movie lovers. In 'Sisters' De Palma paid tribute to 'Rear Window', in his underrated 'Obsession' it was 'Vertigo', and this time around 'Psycho' is the major inspiration. Some critics of De Palma complain he is more interested in style over substance, and in 'Dressed To Kill' there is some truth in that. You will probably guess the murderer after the first 20-25 minutes, then think to yourself "no, that's just a red herring and there will be an unexpected twist later on". You might then be a bit let down when the your initial guess turns out to be correct after all, but there are enough thrills and dazzling sequences throughout to keep most thriller fans happy. Michael Caine and Angie Dickinson are both pretty good in their respective roles, but Nancy Allen ('RoboCop') gives the real outstanding performance in the picture. De Palma would subsequently give her another good role in 'Blow Out' opposite John Travolta. Also strong are Keith Gordon (who went on to star in John Carpenter's 'Christine') and Dennis Franz ('NYPD Blue') in supporting roles. Personally I don't think 'Dressed To Kill' is as good as 'Sisters', but I still think it's first rate exploitation thriller and definitely worth watching. Not De Palma's most interesting movie by a long shot, but still one of his most watchable.

Brian de Palma's erotic suspense psycho thriller/horror has more than just a nod to Hitchcock's classic "Psycho" (1960), however I do not wish to give away any spoilers so I won't say what de Palma has lifted from Hitch's movie. Psycho is easily the better of the two movies but Kill is far more graphic, both in terms of sex and nudity and violence/gore. Very low body count but the lift scene is incredibly bloody. The movie looks great and has some very good suspense. Michael Caine, Angie Dickinson and Nancy Allen are the lead players but Dennis Franz as vulgar New York cop Detective Marino gets my vote as best character. Heavily cut on VHS and for TV but the Blu-ray is uncut, highly recommended. Good looking movie, I enjoyed it but just found the killer reveal to be not very plausible, shame really, I'd like to have scored it higher but it gets a pretty solid 7/10 from me.