Continue reading our career-spanning retrospective, The Summer of De Palma, below. Regardless of his pessimism, De Palma still allows his ending to be happy — with a touch of grotesque eroticism and humor. "Exec: "I dunno, Brian. Yet the deception goes further as the woman he fantasizes over will turn out to be someone else — and, like him, a trained pretender.
I once described this as ‘Alfred Hitchcock, meet the 1980’s’ and I stand by that statement. I can handle the truth. This…, Fight Professor 1,052 films 2,442 12 Edit, The film noir genre generally refers to mystery and crime dramas produced from the early 1940s to the late 1950s.…, mattyfastwheelz 1,340 films 3,686 110 Edit, Jason Bullok 1,000 films 8,434 159 Edit. It's all part and parcel of De Palma's techinque, and it's all pushed to the breaking point in this recursive Moebius Strip of exploitation. Source data can be found via ryno731's original reddit post. More details at Voyeurism is itself only an illusory, imaginative form of control, one to which Jake does not give in easily. Endlessly entertaining, arousing and creepy, Body Double is the type of film they really don’t make for big audiences anymore. A phenomenal score and the use of Frankie Goes to Hollywood’s Relax left me so blown away the first time I saw…. Also it's important to remember that De Palma made this as a direct response to criticism of Scarface: Blow Out and Scarface both point into this direction, but on revisiting this, it seems now the clear peak of De Palma's ability as Brechtian ironist, and is so flawless in it's…. Granted, Rear Window was begging for it, but we're not at home to victim blaming here. Film data from TMDb. IMDb What is 'Body Double' about? In an unexpected and exhilarating music sequence where Jake plays a parody of his nebbish self accompanied physically and musically by Frankie Goes to Hollywood, the director presents a need to “fake it ’til you make it” as absolute and inescapable. It takes a certain confidence for a director to cast someone as bland and wussy as Craig Wasson, an actor I can’t recall seeing in another film besides this one.
Terribly acted. I believe scientists have confirmed that the Frankie Goes to Hollywood scene is the peak of 1980s cinema. With this voluptuous tracking shot, he creates a grotesquely sexual visual trick completely at odds with the hopeful tone of Pino Donaggio’s soundtrack and Jake’s cheerful dialogue with the clerk. Will isn’t enough for him to act: in the film’s opening scene, he finds himself physically unable to rise from the coffin in which he lays while playing the vampire in a horror-porn film. It's not that Body Double is bad, but it's just rather boring. DePalma apparently took a look at Rear Window, Vertigo, and Chinatown and said, "let's put the three together with a pornographic slant."
Jake’s kindness does not entirely explain his ability to confront Gloria and go out of his way in helping her. Unable to even move, he can act as neither an actor or person. He is certainly repulsive as he plays the peeping tom on his new neighbor, becoming a stereotype of the complete loser: cheated-upon, he turns to easy, degrading pleasures that allow him to stay far from a woman he could never hope to conquer, thus satisfying himself with only an illusion of control. De Palma's drippiest, most ineffectual protagonist is thrown headfirst into a reflexive, disorienting, terrifying reality no amount of professional make-believe could prepare him for. When rewatching Body Double for the third time, its most striking element was, as on my first viewing, Craig Wasson’s performance. Mobile site. No suspense. Sexiga 80-talsthrillers är inte tidernas roligaste genre, men när Brian De Palma får slänga lite vad som helst i sitt manus utan någon riktig tanke över om det kan fastna och strösslar det med ren Hitchcock-stöld här och där rycks till och med jag med i det hela. Body Double är bara från 1984, men jag undrar om någonting någonsin kommer kännas mer 80-tal. What's…. De Palma’s most psychosexual thriller, dripping with every flourish he’s known for turned up to 11, erotic voyeurism, stylized violence, diopeter insanity, and sexed up Hitchcockian suspense—all framed within a 1980’s LA landscape with the sole purpose of fucking us hard with a surreal Hollywood fantasy of obscured identities and obsessive excess. Trashy fun, in the way that most De Palma movies are... but somehow, even trashier than most. This unquestionably intended ridiculousness in fact informs an audience of the approach required by the entire film: just as it is difficult to take this ludicrous failed actor and naïve man seriously, Body Double itself is better enjoyed with a grain of salt. Eventually removing her sunglasses, Gloria Revelle (Deborah Shelton) literally reveals the person behind the fantasy and starts talking to Jake, demonstrating a range of emotions and finally, to fully contradict her initial position as sex object, expresses her own impulsive desires. It is what led to his non-traditional works to fly under the rug, such as the anachronistic Hi, Mom! Encore et toujours du très bon De Palma.Body Trouble est un savant mélange entre Blow Out et Rear Window, avec un excellent traitement des thèmes qui lui sont chers, comme le voyeurisme, le complot, la justice, ou encore le rôle du témoin, qu’il va sublimer avec sa caméra, jusqu’à mettre tout son film en perspective dans un excellent final.La mise en scène est forcément chiadée, avec cette montée progressive de la tension à la Hitchcock qu’il perfectionne à chaque film, et des idées en veux-tu-en-voilà. After losing an acting role and his girlfriend, Jake Scully finally catches a break: he gets offered a gig house-sitting in the Hollywood Hills. The original musical score was composed by Pino Donaggio.
Show All… His soft spot and empathy is why he won’t exactly fit the profile of witness for the criminal who set him up as such: just like John Travolta’s Jack in Blow Out, but with even more heart, Jake cares too much. And he doesn't even really get laid. It is telling of De Palma’s joyful cynicism that this scene, an apotheosis of fakery and eroticism, is probably Body Double‘s most memorable. Top 1000 Horror Movies (aggregated from over 40 "best of horror" lists), FINISHED PROJECT: 1001 Movies You Must See Before You Die by (all) members of Letterboxd, I’m in my room alone bored and I will be making a list of every movie that comes to my mind until I get bored with that, twitter.com/edgarwright/status/758339515421433856, mubi.com/lists/edgar-wrights-favorite-movies. Authenticity has only led to suffering for Jake and death for Gloria, and, progressively, De Palma’s pessimism regarding society and the value it places on the truth becomes vigorously clear. Also big time NO on the circular tracking shots, looks horrible. The fact that critics continued to either utilize it as a framework for faint praise or sly takedowns is less of a reflection of De Palma and more of an inability of the critic. Vicious stuff. De Palma’s screenplay, however, complicates Jake’s progression from inaction to action by doubling up on the idea of the world’s illusory nature. The second half is buoyed by the presence of Melanie Griffith and a virtuoso musical sequence that feels utterly rapturous (albeit incongruous) but when it tries to simply tell its story it utterly fails to satisfy. Ridiculous plot. The whole mystery was a dream Jake was having on the set of the porn film; when he confronts his claustrophobia as Sam is burying him, that's him confronting his phobia in real life (to be able to do the scene). Again, Jake’s sensibility matches that of the entire film and its director, as this originally powerless woman, objectified and reduced to her sexiness, progressively becomes the drive of the film’s first act by leading Jake to follow her and, later, admitting she had noticed him all along.
What a shit ton of fun this was! ...Not to be dramatic but I would die for Holly Body, Films that encapsulate that quote from Tenet (2020).
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