Jenny Nix, wife of eminent child psychologist Carter Nix, becomes increasingly concerned about her husband's seemingly obsessive concern over the upbringing of their daughter. Her own ... See full summary »
Brian De Palma
The story revolves around three soldiers - Colee, TK and Cheever - who return from the war after suffering injuries and learn that life has moved on without them. They end up on an ... See full summary »
Marks the second film both Noomi Rapace and Rachel McAdams starred in together, a year after Sherlock Holmes: A Game of Shadows. See more »
I woke up in the hospital and my mother was sobbing, and I asked her what happened to Clarissa, and she said... Well, she didn't. She wouldn't even look at me. And no one ever said anything, but I knew what they were thinking.
[sniffing, then in a whisper]
That I killed her. And they never told me that they loved me ever again.
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DePalma's first film in five years is purely for the fans, a throwback to his sensual thrillers of old; Sisters, Obsession, Dressed to Kill. So right off the bat, this probably excludes the majority of casual viewers who will find this too messy and too illogical to be of substance. Younger viewers who simply pick this off a website, will probably see the visual tricks he pulls as weird, lame stabs on ordinary technique.
The problem is that DePalma has not changed as a filmmaker, it's the film norm that has absorbed and extended so much visual language that was considered somewhat radical in his time, so when Tony Scott films are marketed as ordinary action, of course he'll seem far less sophisticated. Same thing happened with Hitchcock near the end, when guys like DePalma where coming out.
But oh what sweet, sweet DePalmaesque inanity this is!
What DePalma is saying is always in the camera. He seems to say: this is a movie, the result of illusory placement of the eye, so why not go wild on placement? Also: the eye, by its very nature, causes narrative dislocation. He is intelligent, not in what the dislocations mean but in the fact they are shown to be at work, which now and then fool as depth in just the same way they fool the characters.
You'll see all sorts of fooling the eye here. The car crash in the company garage, first filmed as dramatic with lachrymose piano cues and the second time as comedy. Scenes filmed with dutch angles and unusual shadows to register as dream but they are real. A split-screen that lies about its timeline. A scene set-up to be viewed as hallucinative dream but it's a flash back. And later we know it was an untrusted narration.
Many others will make a more streamlined, more exciting thriller, but no one is so committed to expose cinematic illusion like DePalma. He doesn't hit deep, because the illusion is not wrapped around character but around plot, that is always the tradeoff with him. A tradeoff I am willing to make, because I can find more introspective filmmakers elsewhere. There is Wong Kar Wai, Shunji Iwai. Lynch, who brings illusion alive.
But then you have an ending like this. It is utterly nonsensical as story, but the narrator has fooled us so much we'll fool ourselves thinking it's more than madness.
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