Perhaps not quite the best De Palma movie (I might give the edge to Carlito's Way or Hi, Mom!), but it is THE Brian De Palma movie. Split diopters, mirror surfaces, garish and distancing set design, intricate camera movements, and sexist depictions that viciously target the heart of mainstream cinema's inherent misogyny. 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. Scorsese said of BDP's Scarface that it was really about Hollywood. Body Double makes that point unmistakable. It all coalesces in one great sequence in which the post-New Hollywood, Reagan-era Hollywood is linked to MTV empty aesthetics and outright pornography through some tawdry art direction, music video edits-on-the-beat, and meta lapses. Also a withering critique of the misogyny of seemingly nice-guy protagonists as much as the violent villains from whom such men attempt to save women. Vicious stuff.

De Palma loves Hitchcock. He has made so many films that are in a way love letters to Hitch. This is one of them and it is a homage to two Hitchcock films, Vertico and Rear Window.

I saw this film back in 1984/5 at cinema in Iceland and was very impressed by De Palma's use of the camera and I thought it was sexy as hell. It was interesting to revisit this film. I'm still as impressed with his camera work (especially how he orients the viewer) but I did not really think it was as sexy as when I saw it as a teenager.

I don't understand why this film only gets 6.6/10 on IMDb and it is on no lists on iCM. Anyone who does not see that this is a well made film does not know cinema or is letting the sleazy subject matter distract them (or both).

Good one, guys, getting me to watch this, unquestionably one of the dumbest movies I've ever seen. Kind of an elaborate prank, though, planting false praise since the year I was born. I mean, I have to assume that's what's going on here, unless someone can persuade me that this movie is supposed to have an unbearably idiotic plot (unburdened by this, "Relax" is unquestionably the high point -- but all style, no subtlety, it's also a fitting metaphor for the rest of the film). Of course, the other explanation is, I guess, that I just don't like movies.

A combination of Vertigo and Rear Window, the premise of Body Double is the kind of story that's right up my alley. De Palma ratchets up the tension with a nice visual flair that remained interesting even after the audience has solved the mystery. My main caveat: the lead, Scully, is like a dumb version of Scottie Ferguson minus the creepiness, which was one of the main characteristics that made Scottie interesting. Considering that Scully is a dead ringer for Bill Maher doesn't help things.

Was not a fan of this film. There are some decent moments (the end credit scene is interesting) but overall I found the story to be predictable. The extended telescope scenes aren't nearly as effective as the comparable scenes in Rear Window are. Also actor Craig Wasson sort of bugged me in the lead roll.

Over all, I think the predictability of the story is what kills the film. As soon as things get going (it takes a while to get to the body double aspect of the film) I figured everything out almost immediately. Really the best thing about the film is the crazy house where the telescope is located. It is one serious love nest.

An under-rated gem from Brian De Palma. Insane in its plot, almost perfect in its execution

Good one, guys, getting me to watch this, unquestionably one of the dumbest movies I've ever seen. Kind of an elaborate prank, though, planting false praise since the year I was born. I mean, I have to assume that's what's going on here, unless someone can persuade me that this movie is supposed to have an unbearably idiotic plot (unburdened by this, "Relax" is unquestionably the high point -- but all style, no subtlety, it's also a fitting metaphor for the rest of the film). Of course, the other explanation is, I guess, that I just don't like movies.

Kinda all over the place, plot-wise. A few great suspense scenes, more goodness from Pino Donaggio and an unexpected Frankie Goes to Hollywood cameo, but overall this is one of the lesser DePalma films I've seen.

It's definitely no BLOW OUT.

De Palma loves Hitchcock. He has made so many films that are in a way love letters to Hitch. This is one of them and it is a homage to two Hitchcock films, Vertico and Rear Window.

I saw this film back in 1984/5 at cinema in Iceland and was very impressed by De Palma's use of the camera and I thought it was sexy as hell. It was interesting to revisit this film. I'm still as impressed with his camera work (especially how he orients the viewer) but I did not really think it was as sexy as when I saw it as a teenager.

I don't understand why this film only gets 6.6/10 on IMDb and it is on no lists on iCM. Anyone who does not see that this is a well made film does not know cinema or is letting the sleazy subject matter distract them (or both).

Totally forgotten how much I like this wacky, erotic 80's flick from the master of the homage - DePalma. The lead always reminds me of Bill Maher with a dash of Bono thrown in - just in looks. The whole story is a sexed-up take on Hitchcock which was perfect on a cold night. Really dug the whole retro-vibe as this film is soooooo Eighties it's not even funny. Had completely forgotten about the rear-projection driving scenes, classic homage there. Man oh man was Griffith sexy until she talks at length with that squeaky voice, whatever happened to her? Dennis Franz was great as the beleaguered director too.

Αν το Sisters ήταν το Psycho του και το Obsession το Vertigo του, τότε το Body Double είναι το Rear Window του Brian DePalma. Και, όμως, καταφέρνει να μετατρέψει ένα χιτσκοκικό rip-off σε μια ειρωνική ματιά πάνω στο Hollywood και τη βιομηχανία του θεάματος, τραβώντας συνέχεια το χαλί κάτω από τα πόδια του θεατή, πηγαίνοντας την πλοκή σε απρόβλεπτες κατευθύνσεις και σπάζοντας πλάκα με τα κλισέ και τις συμβάσεις του είδους. Δεν νομίζω ότι έχει υπάρξει σκηνοθέτης που έχει ερευνήσει τόσο πολύ την έννοια της διπλής ταυτότητας ή που έχει σκηνοθετήσει περισσότερες ηδονοβλεπτικές σκηνές ντουζ στον mainstream κινηματογράφο. Κάποιος πρέπει να στήσει επίσημο αφιέρωμα "DePalma και ερωτισμός", θα πάω σε όλες τις προβολές.

55/B-

A claustrophobic actor spies on a (relatively 80s) beautiful woman from an elevated UFO shaped yuppie pad and goes on a perverse ramble to solve an obvious charade.
Its hard not to enjoy its sleazed up Hitchcock riffs, neon cinematography and leather clad Frankie Goes to Hollywood music video with its hypnotic ejaculation chant.