एक रहस्यमय गोरा महिला एक मनोचिकित्सक के रोगियों में से एक को मारती है, और फिर उच्च श्रेणी की कॉल गर्ल के बाद जाती है।एक रहस्यमय गोरा महिला एक मनोचिकित्सक के रोगियों में से एक को मारती है, और फिर उच्च श्रेणी की कॉल गर्ल के बाद जाती है।एक रहस्यमय गोरा महिला एक मनोचिकित्सक के रोगियों में से एक को मारती है, और फिर उच्च श्रेणी की कॉल गर्ल के बाद जाती है।
- पुरस्कार
- 1 जीत और कुल 10 नामांकन
Anneka Di Lorenzo
- Nurse
- (as Anneka De Lorenzo)
फ़ीचर्ड समीक्षाएं
Mysterious story , competent performances and sense of style dealing with a twisted series killer . Contemporary and attractive thriller merges bombastic Brian DePalma with a tense Hitchcockian flare . Sexually unsatisfied Kate (Angie Dickinson) is told to have an affair by her sympathetic shrink Dr Elliott (Michael Caine) and ends up in a bed with a man who catches her eye in a museum . Then a crime takes place and prostitute called Liz (Nancy Allen) and Kate's son (Keith Gordon) team up with Liz track and lure the murderer into their trap . The latest fashion in murder !. Every nightmare has a beginning...This one never ends !. Brian De Palma, Master of the Macabre, invites you to a showing of the latest fashion... ...in murder !.
This haunting thriller flick is plenty of mystery , intrigue and suspenseful . A highly exploitative and fast-paced suspense/thriller , recognisably from the blood-spattered hands of expert filmmaker Brian De Palma . The film displays a great and catching musical score by Pino Donaggio , De Palma's favorite composer , in Bernard Herrmann style , and imitating former hits , along with appropriate cinematography . There is much for De Palma buffs to savour in this thrilling and atmospheric handling of a complex story with deliberately old-fashioned treatment . A classic in suspense from De Palma , pitching us right into the action from the beginning and baffling most of us to the ending . This is perhaps his most blatant tribute to Hitchcock and especially ¨Psycho¨ , though the master of suspense might shift uneasily in his grave at the flashy sex scenes , the long drawn-out tension , abundant nudism and the four-letter words used for shock effect . There are also tense key images that are brilliantly and originally staged . De Palma was repeatedly criticized for using a stand-by during the Angie Dickinson shower scene , in fact he titled his next movie ¨Body Double¨ as a rebuttal . Angie Dickinson's museum scene is marvellously edited and photographed . Adding special characteristics techniques as ominous camera movements . The mechanics of suspense are worked quite well by the filmmaker and many frighten the easily scared quite adequately , but De Palma has made a habit of dwelling on their more sordid side-shoots .
It contains colorful and evocative cinematography by cameraman Ralf D. Bode , as well as perceptible , impressive musical score by composer Pino Donaggio . Very good and graphically mysterious direction from Brian De Palma . ¨Dressed to kill¨ is Brian De Palma's homage to Hitchcock and the reason for the chief amusement turning out to be inquire what scenes taken from Master of suspense . That's why takes parts especially from Hitchcock . The picture is brilliantly directed by Brian De Palma . This ¨Dresssed to Kill¨ -along with ¨Sisters¨ , ¨Body Double¨, ¨Blow out¨- resulting outwardly another ode to Hitchcock with the accent on the killing , but on most occasion is really thrilling . Rating : 7/10 . Above average, it gets some riveting basic ideas and fascinating images . Nowadays , being a highly considered film ; that's why it is deemed by many to be one of the Brian Palma's best.
This haunting thriller flick is plenty of mystery , intrigue and suspenseful . A highly exploitative and fast-paced suspense/thriller , recognisably from the blood-spattered hands of expert filmmaker Brian De Palma . The film displays a great and catching musical score by Pino Donaggio , De Palma's favorite composer , in Bernard Herrmann style , and imitating former hits , along with appropriate cinematography . There is much for De Palma buffs to savour in this thrilling and atmospheric handling of a complex story with deliberately old-fashioned treatment . A classic in suspense from De Palma , pitching us right into the action from the beginning and baffling most of us to the ending . This is perhaps his most blatant tribute to Hitchcock and especially ¨Psycho¨ , though the master of suspense might shift uneasily in his grave at the flashy sex scenes , the long drawn-out tension , abundant nudism and the four-letter words used for shock effect . There are also tense key images that are brilliantly and originally staged . De Palma was repeatedly criticized for using a stand-by during the Angie Dickinson shower scene , in fact he titled his next movie ¨Body Double¨ as a rebuttal . Angie Dickinson's museum scene is marvellously edited and photographed . Adding special characteristics techniques as ominous camera movements . The mechanics of suspense are worked quite well by the filmmaker and many frighten the easily scared quite adequately , but De Palma has made a habit of dwelling on their more sordid side-shoots .
It contains colorful and evocative cinematography by cameraman Ralf D. Bode , as well as perceptible , impressive musical score by composer Pino Donaggio . Very good and graphically mysterious direction from Brian De Palma . ¨Dressed to kill¨ is Brian De Palma's homage to Hitchcock and the reason for the chief amusement turning out to be inquire what scenes taken from Master of suspense . That's why takes parts especially from Hitchcock . The picture is brilliantly directed by Brian De Palma . This ¨Dresssed to Kill¨ -along with ¨Sisters¨ , ¨Body Double¨, ¨Blow out¨- resulting outwardly another ode to Hitchcock with the accent on the killing , but on most occasion is really thrilling . Rating : 7/10 . Above average, it gets some riveting basic ideas and fascinating images . Nowadays , being a highly considered film ; that's why it is deemed by many to be one of the Brian Palma's best.
I believe it was one of the best works of Mr De Palma. I like the story it was wonderful & I it took me almost after 75 min of watching movie to take guess who could be the mysterious killer and when I find out I got quiet excited although 10 minutes later everybody knew who's the killer. but all in all I enjoyed that and I could call it one of the best Mystery, Thriller movies I have ever seen of curse with breath taking ending. I should say the acting of Michael Caine & Nancy Allen were perfect.
Alfred Hitchcock's Psycho may be one of the most influential movies ever-for a start it was at least partially responsible for the whole subgenre of 'slasher' movies and the shower scene has inspired more homages than you can count. Brian De Palma's thriller Dressed To Kill is basically a semi remake of Psycho,right from the structure of it's story to it's villain right down to certain specific scenes. It's also an absolutely stunning piece of audience manipulation and perhaps more importantly a cracking thriller. Watch this film knowing about the Psycho element and as long as you don't mind some graphic sex and violence you should have a whale of a time. In fact,to a modern audience it may very well be more effective than Psycho {and this is coming from a big Hitckcock fan}.
De Palma's intentions are apparent right from the beginning,which shows a naked woman, played by Angie Dickinson 'enjoying herself' in a shower,with huge close ups of her breasts {not Angie Dickinson's though}. A man suddenly surprises and assaults her. Than we cut to Angie and her husband having loveless sex on a bed. This whole opening sequence has it all-the Psycho reference,the slight twisting of that reference,the dreamy eroticism,the sudden shock,the surprise. It shows De Palma,more than anything else,playing with his audience,manipulating them like puppets on strings. Yes,like Hitckcock,but sometimes going further. Basically,if you like this opening sequence,you will enjoy the rest of the film.
While there definitely IS a plot {quite a familiar one,but you should know this by now},it is Dressed To Kill's set pieces that stand out,that show De Palma's brilliance. There's a dreamlike and subtly erotic sequence in an art gallery where Dickinson is picked up by a stranger,an incredible murder in a lift which is shocking without showing THAT much blood,a thrilling chase in an underground train station where the heroine is pursued not just by the killer but for a while by a gang of youths,a very scary ending about which I won't go into {except that it features another shower scene!}but where the tension is ramped up to an incredible degree. Here,De Palma is BETTER than Hitchcock.
Although the best scenes are those without dialogue,where De Palma just lets Pino Donnaggio's lush,darkly beautiful score take over the sound,there is quite a bit of fun to be had in the often deliberately humorous dialogue,and the really rather cute relationship between nerdy Keith Gordon and tough as nails Nancy Allen,who make a great team. The identity of the killer is not exactly hard to spot,perhaps more work could have been done here,but going by the cheeky attitude of the film in general this may have been intentional.
When Dressed To Kill originally came out it was heavily criticised for being misogynist,especially with the first third of the film {just in case you HAVEN'T seen Psycho,I won't go into detail}. I've always believed that this part of the film is about the possible dangers of indulging one's fantasies. De Palma is NOT a misogynist anyway really,think of the many memorable heroines of his films. Even if you disagree, see Dressed to Kill to see an oft criticised but occasionally brilliant director at the height of his powers.
De Palma's intentions are apparent right from the beginning,which shows a naked woman, played by Angie Dickinson 'enjoying herself' in a shower,with huge close ups of her breasts {not Angie Dickinson's though}. A man suddenly surprises and assaults her. Than we cut to Angie and her husband having loveless sex on a bed. This whole opening sequence has it all-the Psycho reference,the slight twisting of that reference,the dreamy eroticism,the sudden shock,the surprise. It shows De Palma,more than anything else,playing with his audience,manipulating them like puppets on strings. Yes,like Hitckcock,but sometimes going further. Basically,if you like this opening sequence,you will enjoy the rest of the film.
While there definitely IS a plot {quite a familiar one,but you should know this by now},it is Dressed To Kill's set pieces that stand out,that show De Palma's brilliance. There's a dreamlike and subtly erotic sequence in an art gallery where Dickinson is picked up by a stranger,an incredible murder in a lift which is shocking without showing THAT much blood,a thrilling chase in an underground train station where the heroine is pursued not just by the killer but for a while by a gang of youths,a very scary ending about which I won't go into {except that it features another shower scene!}but where the tension is ramped up to an incredible degree. Here,De Palma is BETTER than Hitchcock.
Although the best scenes are those without dialogue,where De Palma just lets Pino Donnaggio's lush,darkly beautiful score take over the sound,there is quite a bit of fun to be had in the often deliberately humorous dialogue,and the really rather cute relationship between nerdy Keith Gordon and tough as nails Nancy Allen,who make a great team. The identity of the killer is not exactly hard to spot,perhaps more work could have been done here,but going by the cheeky attitude of the film in general this may have been intentional.
When Dressed To Kill originally came out it was heavily criticised for being misogynist,especially with the first third of the film {just in case you HAVEN'T seen Psycho,I won't go into detail}. I've always believed that this part of the film is about the possible dangers of indulging one's fantasies. De Palma is NOT a misogynist anyway really,think of the many memorable heroines of his films. Even if you disagree, see Dressed to Kill to see an oft criticised but occasionally brilliant director at the height of his powers.
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.
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.
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.
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.
क्या आपको पता है
- ट्रिवियाAngie Dickinson said the scene where her character gets seduced in the back of a taxicab was filmed on-location in New York City, where several gawkers observed the scene and shouted, "Right on, Police Woman!" (referring to her previous television role as the title character on Police Woman (1974)).
- गूफ़(at around 55 mins) Peter Miller looks in the visor of his Super 8 camera. The format of the visor is 'Cinemascope', which never has been really possible with S8. Later, when the resulting movie is seen, it is in the standard 4/3 format.
- भाव
Liz Blake: Do you want to fuck me?
Dr. Robert Elliott: Oh, yes.
Liz Blake: Well, why don't you?
Dr. Robert Elliott: Because I'm a doctor and...
Liz Blake: Fucked a lot of doctors.
Dr. Robert Elliott: ...and I'm married.
Liz Blake: Fucked a lot of them, too.
- इसके अलावा अन्य वर्जनNBC edited 14 minutes from this film for its 1982 network television premiere.
- कनेक्शनEdited into Sex at 24 Frames Per Second (2003)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
Everything New on Prime Video in July
Everything New on Prime Video in July
Your guide to all the new movies and shows streaming on Prime Video in the US this month.
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइट
- भाषा
- इस रूप में भी जाना जाता है
- Dressed to Kill
- फ़िल्माने की जगहें
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $65,00,000(अनुमानित)
- US और कनाडा में सकल
- $3,18,99,000
- दुनिया भर में सकल
- $3,19,00,256
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