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Dressed to Kill (1980)

A mysterious blonde woman kills one of a psychiatrist's patients, and then goes after the high-class call girl who witnessed the murder.

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Nominated for 1 Golden Globe. Another 1 win & 9 nominations. See more awards »
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Cast

Cast overview, first billed only:
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...
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Dr. Levy
Ken Baker ...
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Betty Luce
...
Cleveland Sam
Amalie Collier ...
Cleaning Woman
Mary Davenport ...
Woman in Restaurant
Anneka Di Lorenzo ...
Nurse (as Anneka De Lorenzo)
Norman Evans ...
Ted
Robbie L. McDermott ...
...
Chase Cabbie
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Storyline

While taking a shower, Kate Miller, a middle-aged, sexually frustrated New York City housewife, has a rape fantasy while her husband stands at the sink shaving. Later that day, after complaining to her psychiatrist Dr. Robert Elliott about her husband's pathetic performance in bed, she meets a strange man at a museum and returns to his apartment where they continue an adulterous encounter that began in the taxicab. Before she leaves his apartment, she finds papers which certify that the man has a venereal disease. Panicked, Kate rushes into the elevator, but has to return to his apartment when she realizes she's forgotten her wedding ring. When the elevator doors open, she's brutally slashed to death by a tall blonde woman wearing dark sunglasses. Liz Blake, a high-class call girl, is the only witness to the murder and she becomes the prime suspect and the murderess's next target. Liz is rescued from being killed by Kate's son Peter, who enlists the help of Liz to catch his mother's ... Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

Every nightmare has a beginning...This one never ends. See more »

Genres:

Mystery | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

25 July 1980 (USA)  »

Also Known As:

Vestida para matar  »

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Box Office

Budget:

$6,500,000 (estimated)

Gross USA:

$31,899,000
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (R-rated)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Ray Stark wanted to cast Suzanne Somers in the role of Liz Blake. Brian De Palma rejected the idea of Somers being cast because he specifically wrote the character for Nancy Allen. See more »

Goofs

When Kate writes the second letter, the first one disappears and reappears on the table between shots. See more »

Quotes

Doctor Robert Elliott: How are things going with you and Mike?
Kate Miller: Fine.
Doctor Robert Elliott: Good.
Kate Miller: [considering for a moment] No, they're not fine. What a stupid word that is. He gave me one of his wham-bang specials today and I'm mad at him. Isn't that right? Shouldn't I be mad at him?
Doctor Robert Elliott: Yeah. Did you tell him?
Kate Miller: Of course not. I moaned with pleasure at his touch - isn't that what every man wants?
Doctor Robert Elliott: I don't know. Is it?
Kate Miller: Don't start that stuff with me.
See more »

Connections

Referenced in Edición Especial Coleccionista: Christine (2013) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
prime form, trite contents
31 October 2006 | by See all my reviews

In France, it's considered polite from French critics to genuflect to the apparently cohesive chain of films Brian De Palma left behind him. However, a good proportion of his films are marred by bombastic effects "Carrie" (1976), "the Fury" (1978) "Scarface" (1983) without mentioning his borrowings from Hitchcock. Here, in "Dressed to Kill", it's impossible not to think of "Vertigo" (1958) for the long sequence in the museum while the key moment in the lift makes inevitably think of the shower anthology sequence in "Psycho" (1960). About our involved film, I don't want to revive the old debate: does De Palma rip off Hitchcock? Instead, i would tend to be generous and to classify "Dressed to Kill" in the category of De Palma's winners alongside "Sisters" (1973) and "Obssession" (1976). With however some reservations and they're the ones I previously enumerated which fuel the bickering between De Palma's rabid fans and his detractors.

If there's one sure thing in "Dressed to Kill" which can generate general agreement among film-lovers, it's De Palma's virtuosity in directing. He wields his camera just like a filmmaker expert is supposed to do. His sophisticated camera work brilliantly fuels the suspense which entails a rise of the tension and a discomforting aura. The audience is easily glued in front of the screen. This is helped by the use of several long silent sequences during which everything depends on looks and gestures. By the way, in "Psycho", there were also long silent, suspenseful parts...

But the main drawback in De Palma's 1980 vintage is that the quality of the plot can't be found wanting and appears to be a rehash of many formulaic, corny ingredients pertaining to an incalculable number of murder stories. The prostitute is the sole witness of the crime. Then, she's suspected by the police and has to act on her own (with a little help from the victim's son from the scene in the subway onwards)) to track down the murderer and to prove her innocence. Apart from the fact that De Palma uses a type of character who for once isn't demeaned at all, it's a menu which smells the reheated. And the filmmaker ends his film on a sequence that echoes to the opening one. Yes, it's superbly filmed but when one discovers its real function, one figures: "it's almost gratuitous filler". Perhaps De Palma wanted to stretch his film beyond one hour and a half when at this time the viewer knows (and even before) who the killer is.

The two central mainsprings in De Palma's set of themes articulate hinges on manipulation and voyeurism. The latter theme is well present in "Dressed to Kill" from the first scene onwards which makes the film almost look like a soft porn movie. And the filmmaker isn't afraid to film his main actress and wife Nancy Allen in her underwear. I find his approach about this theme rather doubtful. But maybe the first sequence was conceived to be a mirror of the viewer and De Palma wanted to stir his peeping tom side.

I don't want to demean at all De Palma's work. His prestigious work in directing which entails a communicative treat to film redeems the global weakness of the story and its doubtful aspects. Twenty six years after, the controversy he aroused amid movie-goers isn't ready to subside.


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