Omicidio a luci rosse

I've been a fan of De Palma long time and I just saw this one this night. To my enjoyment, I had a few smiles, even laughters, intensity, involving to the storyline, getting that suspense that is needed.

This movie is a perfect example to pull of what Hitchcock has done best in "Rear Window" and "Vertigo". De Palma set up those two basic ideas into a story that's really enjoyable and intense same time. Especially when you are in the knowledge of the movies of the 40s and 50s and the art of making a thriller you are just going to be pleased.

My guess is that De Palma made this movie out of pure pleasure, doing all those great stuff with claustrophobia, sexual need, voyeurism, grotesque murder, and most of all terrifying suspense.

The murder sequence was in my opinion of a well crafted exercise in suspense. You fear, then you hope, then you try to guess, it goes all right, then all wrong, the hero comes, it seems at right time, but still too late, it all goes on and on and you can't believe it happened. Loved and hated the sequence, for film-making and emotional purposes.

Not the greatest, but definitely one of De Palmas best.

I admit when I rented this movie, I did so just to get some cheap thrills. I was aware of the negative reviews from uptight critics who dismissed it as sleaze, and to be honest, that's what I was in the mood for. Besides, my curiosity was aroused. (No cheap jokes, please!)

To my surprise, this is actually a compelling, well-crafted thriller. Let me take it a step further. It's an improvement over DePalma's effective but overpraised "Dressed to Kill." "Body Double" is actually better-constructed and better-paced. Perhaps the extremes of the film's content turned off some members of the critical community. And keep in mind that many of these people loved Dressed.

However, if you can stomach some of the content (it would certainly warrant an NC-17 in today's climate), there's much to like here. DePalma's approach might be manipulative, but when he does so this effectively, it's hard to complain. Technically, it's a marvel of film technique. Wasson's claustrophobic attacks are effectively conveyed to the viewer. When they hit him, they hit us just as hard. The very ending, which I wouldn't dream of giving away, is a work of pure genius. The infamous drill murder is a terrific setpiece.

One aspect that interested me was its attitude towards porno. So-called "dirty movies" are not condemned, but treated as simply being another side of the film industry. It's not considered right or wrong; it's just there. Such a nonjudgmental outlook is refreshing after hearing the tiresome rants of self-appointed "moral watchdogs." Likewise, there is a loving tribute to B-movies during the opening and closing credits.

"Body Double" isn't good art by any means, but it's good trash. Watch it, and you will behold DePalma at his sleazy best. He makes no apologies for what he does, nor would we want him to do so.

***1/2 (out of ****)

Released by Columbia Pictures

I am a Brian DePalma's fan. I love his style, his visual uniqueness, his ability to grab me from the very opening of his films and not let me take my eyes off the screen until the very last moment and even after that keep me a captive of his dangerous yet seductive worlds. I liked a lot every De Palma's film I've seen: The Black Dahlia (2006), Femme Fatale (2002), Snake Eyes (1998), Mission: Impossible (1996), Carlito's Way (1993), The Bonfire of the Vanities (1990), Casualties of War (1989), The Untouchables (1987), Scarface (1983), Dressed to Kill (1980), and Carrie (1976).

As with all his films, you either love "Body Double" and let its typical De Palma's over-the-top charm, his mesmerizing beautiful camera movements, his 20 minutes long, dialog-free pursuit sequence, his intense interest in exploration of sexual "dysfunction," his constantly present obsession with voyeurism, his satire on making cheap horror and adult movies, and his loving yet humorous homage to several Alfred Hitchcock's films overwhelm you or you just dismiss it scornfully for its most impossible and unbelievable story, for the plentiful coincidences and the holes in the plot, for the excessive violence, and for its sensationalism and exploitation. I found "Body Double" shocking, poignant, satirical, often hilarious, and always highly entertaining. Once again, De Palma did not disappoint me. I figured from the beginning where the story of a struggling B-movie actor (Craig Wasson) with many problems (claustrophobia that cost him a part in a horror movie, break-up with a cheating girlfriend, witnessing a gruesome murder and becoming a possible suspect) would lead. It did not stop me from enjoying the film and admiring De Palma's ability to trick me not just once but many times by making me see what he only wanted me to see, yet never hiding the whole picture and using to perfection his magic camera that "lies all the time; lies 24 times/second". I believe that De Palma himself has provided the keys to better understanding and enjoying his films when he said, "My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it." All we have to do - to recognize the beauty behind the grotesque.

P.S. Melanie Griffith gave her best performance and stole all her scenes as a hot blond smart porn star with "a head for business and a bod for sin" who might help Jack to solve the mystery of the brutal murder he had witnessed.

P.P.S. After I finished watching "Body Double", I added to my rental list "Blow Out" (1981) and "Sisters" (1973). Exploration of De Palma's worlds continues.

Sort of a cross between "Rear Window" and "Vertigo" but instead of James Stewart we get Craig Wasson as a struggling actor mixed in with some sly jokes at the film studios, actors, and adult films. Visually very stylish with hypnotic score. Bizarre music video sequence is well done to the tune of "Relax" by Frankie Goes to Hollywood. If you can look past the plot holes, it's an entertaining over-the-top effort from De Palma.

this is a classic 80s flick, and a one of a kind from that period. i remember seeing this in high school and being blown away. seeing it today brings back memories of the effect it had on me then; and little of it to do with the "plot", but with the sleepy, dreamy atmosphere the film builds, the beautiful view Jake sees through his telescope (not the dancer either, but the home!), etc. I always wanted to see a revamped rear window type thriller, and this let me see at least an attempt at it through an 80s lens in LA/Bev Hills. I thought that was cool. I did feel sympathy for Jake - somebody said he's the weak willed everyman's character and he is that. Didn't like the end, too bad it had to dissolve into stupidity. Still a very good quirky 80s movie.

Favorite scenes of mine - when Jake follows Gloria shopping (the whole scene), and when he finally meets up with her on the beach, after chasing down the purse snatcher. I would definitely go through what Jake did to have a 1 minute fling with a former Miss USA.