IMDb > Dressed to Kill (1980)
Dressed to Kill
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Dressed to Kill (1980) More at IMDbPro »

Photos (See all 27 | slideshow) Videos (see all 8)
Dressed to Kill -- Clip: The Attack
Dressed to Kill -- Clip: Elevator Ride
Dressed to Kill -- Clip: I Shouldn't Have Been So Rude
Dressed to Kill -- A group of thugs chase Liz from one cabin to the next while riding the metro.
Dressed to Kill -- Liz confesses to doctor Robert that she's a hooker.

Overview

User Rating:
7.2/10   18,375 votes »
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Up 27% in popularity this week. See why on IMDbPro.
Director:
Writer:
Brian De Palma (written by)
Contact:
View company contact information for Dressed to Kill on IMDbPro.
Release Date:
25 July 1980 (USA) See more »
Genre:
Tagline:
The Latest Fashion In Murder See more »
Plot:
A mysterious, tall blonde woman, wearing dark sunglasses murders one of a psychiatrist's patients, and now she goes after the high-priced call girl who witnessed the murder. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Golden Globe. Another 1 win & 6 nominations See more »
User Reviews:
prime form, trite contents See more (176 total) »

Cast

  (in credits order) (verified as complete)

Michael Caine ... Doctor Robert Elliott

Angie Dickinson ... Kate Miller

Nancy Allen ... Liz Blake

Keith Gordon ... Peter Miller

Dennis Franz ... Detective Marino

David Margulies ... Dr. Levy
Ken Baker ... Warren Lockman
Susanna Clemm ... Betty Luce
Brandon Maggart ... 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 ... Man in Shower
Bill Randolph ... Chase Cabbie
Sean O'Rinn ... Museum Cabbie
Fred Weber ... Mike Miller
Samm-Art Williams ... Subway Cop
Robert Lee Rush ... Hood #1
Anthony Boyd Scriven ... Hood #2
Robert McDuffie ... Hood #3
Frederick Sanders ... Hood #4
rest of cast listed alphabetically:

William Finley ... Bobbi (voice) (uncredited)
Wendell Hauser ... (uncredited)
Erika Katz ... Girl in Elevator (uncredited)

Mark Margolis ... Patient at Bellvue Hospital (uncredited)
Lisa Peluso ... Museum Girl (uncredited)

Jerry Schram ... Building Tenant (uncredited)
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Directed by
Brian De Palma 
 
Writing credits
Brian De Palma (written by)

Produced by
Fred C. Caruso .... associate producer (as Fred Caruso)
George Litto .... producer
Samuel Z. Arkoff .... executive producer (uncredited)
 
Original Music by
Pino Donaggio 
 
Cinematography by
Ralf D. Bode (director of photography) (as Ralf Bode)
 
Film Editing by
Gerald B. Greenberg  (as Jerry Greenberg)
 
Casting by
Vic Ramos 
 
Art Direction by
Gary Weist 
 
Set Decoration by
Gary J. Brink  (as Gary Brink)
 
Costume Design by
Gary Jones 
Ann Roth 
 
Makeup Department
Joe Cranzano .... makeup artist (as Joseph Cranzano)
Bob Grimaldi .... hair stylist (as Robert Grimaldi)
Robert Laden .... special makeup artist
Tony Lloyd .... makeup artist: Mr. Caine (as Anthony Lloyd)
 
Production Management
Fred C. Caruso .... production manager (as Fred Caruso)
 
Second Unit Director or Assistant Director
William Eustace .... second assistant director
Paula Mazur .... dga trainee
Michael Rauch .... assistant director
Robert Rothbard .... second second assistant director (uncredited)
 
Art Department
Gilbert Gertsen .... chief carpenter (as Gilbert Gertson)
William Kane .... property master
William Lowry .... construction grip
Ernest W. Southern .... scenic chargeman (as Ernie Southern)
Paul J. Wilson .... prop man
 
Sound Department
Ed Abele .... boom operator
John H. Bolz .... sound mixer (as John Bolz)
Peter Ilardi .... sound recordist
Lowell Mate .... assistant sound editor
Michael Moyse .... sound editor
Dan Sable .... supervising sound editor
Dick Vorisek .... sound re-recording supervisor
Jean Fraser Wardle .... assistant sound editor (as Jean Wardle)
Randall Coleman .... apprentice sound editor (uncredited)
 
Stunts
Victor Magnotta .... stunt coordinator (as Vic Magnotta)
BJ Davis .... stunt double: Michael Caine (uncredited)
Steve James .... stunts (uncredited)
 
Camera and Electrical Department
Holly Bower .... still photographer
Marc Hirschfeld .... assistant camera
Jack Kennedy .... dolly grip
Ed Quinn .... key grip
Michael Stone .... camera operator
David Wagreich .... second assistant camera
James C. Walsh .... best boy (as James Walsh)
William Ward .... gaffer
 
Costume and Wardrobe Department
Greg Fauss .... costumer: men
Alba Schipari .... costumer: women
 
Editorial Department
Ray Hubley .... assistant editor
Maria Iano .... assistant editor
Bill Pankow .... associate editor
Wende Phifer Mate .... assistant editor (as Wende Phifer)
 
Music Department
Todd Kasow .... music editor
Natale Massara .... conductor
John Moses .... musician: clarinet (uncredited)
 
Transportation Department
Tom O'Brien .... transportation captain (as Thomas O'Brien)
Patrick Hogan .... driver (uncredited)
 
Other crew
Samuel Z. Arkoff .... presenter
Edward Crocitto .... location coordinator (as Ed Crocitto)
Jean De Niro .... production assistant
Gary Hill .... assistant: Mr. DePalma
Sam Irvin .... assistant: Mr. DePalma
Gail Kearns .... assistant: Mr. Litto
Shirley Marcus .... production office coordinator
Danny Matalon .... production assistant
Martha Pinson .... script supervisor
Curtis Sayblack .... auditor (as Curtiss Sayblack)
Jeffrey Silver .... location manager
Rachel Ticotin .... production assistant
Joy Glaccum .... stand-in: Angie Dickinson and Michael Caine (uncredited)
Victoria Johnson .... body double: Angie Dickinson (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
105 min | USA:104 min (R-rated version)
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:18 | Australia:R | Australia:MA (Cable TV rating) | Brazil:14 | Canada:R | Finland:K-16 (uncut) (1996) | Finland:K-18 (cut) (1980) | France:16 | Germany:16 (re-rating) (2013) | Iceland:16 | Ireland:18 | Italy:VM18 | Netherlands:16 | New Zealand:R18 | Norway:18 (1981) | Peru:18 | Portugal:M/16 | Singapore:R21 | South Korea:18 | Sweden:15 | UK:18 | UK:X (original rating) | UK:18 (video rating) (1986) (1990) (2002) | USA:X | USA:R (cut) | West Germany:18 (original rating)

Did You Know?

Trivia:
The conversation between Liz and Peter at the end of the movie about male-to-female surgery was filmed at the Windows on the World restaurant complex in the World Trade Center.See more »
Goofs:
Continuity: Outside the museum, Bobbi picks up the glove twice.See more »
Quotes:
[last lines]
Peter Miller:Look, Liz, I've got to get home and get to work.
Liz Blake:Gee, I'm gonna miss having you on my tail. You made me feel kind of safe.
Peter Miller:Want to come home with me? I'd love the company.
Liz Blake:Wouldn't Mike mind?
Peter Miller:Mike's out of town on a business trip. We've got plenty of room.
Liz Blake:Great. I could sure use the vacation.
Peter Miller:Good, good. I'll get the check.
See more »
Movie Connections:
Referenced in The Cinema Snob Movie (2012) (V)See more »

FAQ

What are the differences between the R-Rated version and the Unrated Version?
See more »
18 out of 30 people found the following review useful.
prime form, trite contents, 31 October 2006
Author: dbdumonteil

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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