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- A young actor's obsession with spying on a beautiful woman who lives nearby leads to a baffling series of events with drastic consequences.
- In addition, a version including footage from the Brian De Palma film 'Body Double'.
- We hear from De Palma, Griffith, and Henry as they examine the porn flicks created for Double, character issues and the movie's impact on Griffith's career, the use of interpretive flashbacks, LA locations, and a few more general production topics.
- This piece features De Palma, Shelton, Henry, Griffith and Franz. As implied by the title, "Controversy" looks at reactions to Body Double. It views critical opinions from 1984, De Palma's response to accusations of misogyny, general thoughts about the flick and its aftermath. The participants try to convince us that Double is a misunderstood classic.
- Actor Craig Wasson explains how he feels about his contribution to Body Double and what makes the film uniquely suspenseful, and discusses some of the similarities between his professional career and that of the struggling actor he plays in the film, Brian De Palma's directing methods, etc.
- For Body Double 22, Brice Dellsperger starts with Kubrick's Eyes Wide Shut, ten years after its initial release. Once again he is working with Jean-Luc Verna, who plays all the parts. In contrast with his earlier films, limited to reprises of single scenes - the exceptions being BD X, which used the whole of Zulawski's That Most Important Thing: Love, and BD16, which included scenes from two different films - this new opus takes advantage of the opportunity to apply the same directing principles to several different scenes: doubles split off into female characters. The gender trouble the artist creates - his actor is systematically dressed as a woman, even when playing male parts - once again contaminates the remake exercise. Using a host of replayed scenes - the film lasts 35 minutes - Body Double 22 jumbles their order, reorganizing different sequences from Kubrick's last masterpiece around the original's key scene - Dr Harford's discovery of the secret ritual - which here recurs over and over. The splitting operations thus interfere with the film's linearity, dividing into different spaces the scenes re-enacted and shot in different parts of the same theatre: the dream narrative, the visit to the morgue, the naked woman in the bathroom, the visit to the dead patient's daughter, etc. The use of inlays even enables the overlaying of scenes within a single shot, that of the argument. In addition, the use of overdubbed sound heightens the general unease and helps distance the film from Kubrick's original.
- Brice Dellsperger's reprise of Gus Van Sant's My Own Private Idaho.
- Reimagining a short scene from David Lynch's "Mulholland Drive" using a split-screen effect.
- Brice Dellsperger's reprise of Brian De Palma's Carrie.
- Shot-for-shot minimalist and meta-ironic remake of a short sequence (attack on the elevator scene) from Brian de Palma's "Dressed To Kill".
- Shot-for-shot remake of the campfire scene from Gus Van Sant's "My Own Private Idaho".
- Brice Dellsperger's reprise of Brian de Palma's Passion.
- Minimalist and meta-ironic remake of the "More Than A Woman" sequence from "Saturday Night Fever", the musical film originally directed by John Badham in 1977.
- Shot-for-shot minimalist and meta-ironic remake of a short sequence from Brian de Palma's "Dressed To Kill" filmed in Disneyland.
- Shot-for-shot minimalist and meta-ironic remake of the famous museum scene from Brian de Palma's "Dressed To Kill".
- Time struggles to heal past wounds.
- The story of Rose and Charlotte who lost their mother to breast cancer when they were just 10. Now, as adults, the twin sisters have discovered they have the gene predisposing them to breast cancer and opt for preemptive surgery.
- We hear from director Brian De Palma and actors Melanie Griffith, Deborah Shelton, Gregg Henry and Dennis Franz as we learn about inspirations for the "body double" concept and the story's development and research, De Palma's original plan to use a porn actress as Holly and subsequent casting of Griffith. She talks about her own research and audition. From there, the show looks at how the other actors came onto the film and aspects of their performances. This piece manages to open our look at the production pretty well.
- First assistant director Joe Napolitano recalls his first encounter with Brian De Palma (which was prior to the shooting of Blow Out) and discusses the director's working methods, the shooting of various sequences from Body Double (with some very interesting comments about Melanie Griffith's performance), the desire to make the sleezy side of the adult world depicted in the film look classy, production designer Ida Random's invaluable contribution to the film, the various locations that were used in the films, some of the unique framing choices that were made, the brilliant use of music, etc.
- This piece includes remarks from De Palma, Henry, and Shelton as they examine some character and plot influences/inspirations, shooting various locations and sets, peeping as a plot device, rehearsals and pre-production details, more performance issues, working with dogs, and a few other shoot specifics.
- You're in a movie studio where real life famous Hollywood body double Shelley Michelle and her colleagues shoot their sex scenes. Meet everyone, find out what your role is and don't be rude or you'll be thrown out and it's game over.
- Brett poses as the son of a wealthy industrialist to serve as bait for a gang who use kidnapping as a way to finance their terrorist activities.
- Evidence is stolen from the morgue in a high profile case. Kate is her own worst enemy in becoming the next chief of police.
- When Yvonne's unlikeable Aunt Thelma dies, there is reluctance by Mr. Williams and Darryl to spend any money on the service. The wake ends up being at the Hughley home where everyone struggles to say nice things about the deceased.