a list that is trying to contain every horror film made that is not lost and is found on the…
When neighborhood kids begin vanishing, Jenny (Lolita Davidovich) suspects her child psychologist husband, Carter, may be resuming the deranged experiments his father performed on Carter when he was young. Now, it falls to Jenny to unravel the mystery. And as more children disappear, she fears for her own child's safety. John Lithgow plays creepy multiple roles as Carter, his evil twin and their father in director Brian De Palma's wicked shocker.
"I did nothing. I don't even exist."
De Palma's toying with cinematic subjectivity and where we place ourselves inside our own self-image, to which he can't resist adding some self-parody. there's an intentional denial of release here in almost every sequence. the expected crescendo never quite happens.
just for fun i watched this twice today, first on DVD and then in Peet Gelderblom's RAISING CAIN RECUT version. RECUT is probably superior for having that snowballing De Palma momentum, both versions are preposterous masterpieces.
Drifting off the path of success in quite a spectacular fashion with the enormously misguided and tone deaf "Bonfire of the Vanities" (see the amazing book "The Devil's Candy" by Julie Salamon), DePalma came back in force with a film that feels very much like a cataloging of his various visual and thematic obsessions.
-If I could single out one specific thing that keeps this movie from being on the same level as DePalma's best thrillers it would be John Lithgow. I think it's a combination of an awkwardly written character and just plain miscasting because Lithgow is not threatening, not funny and when they play up his sexuality it's death on the screen (I'll give this aspect a bit…
The Count's Verdict: Oh Brian, you are bonkers and boy do I love you for it. I've had a longstanding and deep rooted affection for RAISING CAIN ever since I first saw it on VHS back in the mid-nineties. Yes, it has a trashy 'TV-movie' melodrama feel in places BUT... It is also so knowingly demented and delirious that in many respects it is one of De Palma's most unrestrained, thus most entertaining, films. John Lithgow, regular De Palma nutter, is gleefully unhinged delivering 'multiple' performances each as brilliantly batty as the next and Francis Sternhagen is simply a delight as Dr. Waldheim. Not forgetting familiar face Gregg Henry, Pino Donaggio on scoring duty and several masterfully staged set-pieces which eclipse the film's flaws to make it trademark De Palma.
O filme parte desse evento psicanalítico para ir fundando e refundando toda uma natureza encenativa que faz questão de oficializar seu amor por esse jogo entre o drama histriônico e a leveza da forma, esse altamente prazeroso pesadelo da superfície. Um filme com um plano sequência em que a personagem nunca sabe para onde ir, precisa ser redirecionada a todo tempo, e termina esse mesmo plano no close de um cadáver histérico, meu amigo, é um filme que tem a mais completa consciência de seus modelos, o mais absoluto domínio da mediação cinematográfica, que brinca com esse domínio com uma inventividade que poucos artistas neste mundo detêm.
De Palma's Psycho (no scene in a De Palma has ever riffed so hard as the scene where Carter is detained and diagnosed), made with the bright color palette of Suspiria. Like Psycho, the film makes multiple sudden shifts in genre. Here it seems more fractured, akin to the title character's psyche. Perhaps there are too many diversions, but some sequences are really fantastic (the hospital scene; dream sequences and the showdown at the hotel that features a few callback to the dream). The protagonist shifts just as much as it does in the aforementioned Hitchcock film; and both films mess around with audience subjectivity in exciting ways.
The funniest thing about this madhouse of a thriller is that John Lithgow really seems to think he's making Fight Club, and/or turning in the performance that will nab him a Best Actor Oscar. As a timid kidnapper and his eeeevil twin (OR IS HE, DUN DUN DUN), he plays both halves of the Mr. Brooks dichotomy with a ridiculously unwarranted conviction and determination. This film, about an evil doctor nabbing babies for mad science, with the help of his science-warped son, is lurid and misogynistic even by Brian De Palma's standards, but it's all much too hilariously misguided and mishandled to be offensive or even embarrassing. It's like watching a favorite actor on a drunken bender. Recommended for fans of so-bad-it's-good cinema.
Quizás lo bueno de buscar divertir (y divertirse) a cualquier precio es que al final algo se consigue.
Film #14 Scavenger Hunt November
Task #20 A Psychological Thriller
I have such mixed feelings on this movie. John Lithgow was great in the role as he always seems to be, but so many other aspects of the movie made me think of a TV movie on Lifetime. The sex scene made me laugh and also a lot of the camera shots just made it look like it should be on TV. The story was pretty predictable and didn't offer many surprises. This is a good lazy Sunday movie or one that you just want to waste some time. I'm glad I didn't see it in the theater.
Not the best work from the great Brian De Palma, but still a mad, dream-like hotch-potch of murder, mystery, character disorder and Hitchcock references. John Lithgow plays a brilliant but deranged child psychologist who goes totally over the edge when he discovers his wife Jenny (Lolita Davidovich) having an affair with former lover Jack (Steven Bauer). De Palma seems to play his own wandering, incoherent screenplay as parody, but still manages to incorporate any number of bravura sequences - the climactic, slow-motion multi-point showdown at a sleazy motel is superbly mounted and filmed. Cinematographer Stephen H. Burum bathes the film in beautiful light; Pino Donaggio delivers abeautifully taut score and John Lithgow goes wonderfully totally over-the-top in a multi-part role.…
Everyone else seems to dig this movie...
Maybe I am missing something...
Maybe I can't get passed John Lithgow's performance.
After taking a few years off from making the types of movies that made him famous, Brian DePalma returned with a vengeance with "Raising Cain," a delightfully twisted and loopy thriller that is yet another notch in the belt of one of my favorite filmmakers. He's not afraid to take chances or deal in subject matters that many others would shy away from, in this case some pretty creepy experiments on children, but DePalma is a masterful storyteller and his films are meant for adults.
Here he re-teams with John Lithgow, who gives a wonderful performance that is both sinister and sympathetic depending on what the screenplay demands of him. However, as with any DePalma thriller, the real draw her…
One of Brian De Palma's more underrated films as it explores a child psychologist coming undone by his father and other aspects of himself where he deals with his wife's extramarital affairs and attempts to kidnap children as it features a fantastic performance from John Lithgow.
Pure De Palma.
#Brian De Palma-thon
Works only if seen as De Palma's attempt at self-parody. Not even important if it's intentional or not.
While not one of my favorites from De Palma, Raising Cain is quite the blast from start to finish. I would have despised this if it was my first encounter with De Palma. It even took me a bit to fully get on board with what De Palma was doing here. It has the same tone I would expect from a Lifetime movie, which is something that sometimes works to De Palma’s advantage here. Everything from the general look of the film to the interactions between character genuinely suits the tone De Palma was going for here. It perfectly captures this small-town feel to the film. Where it does not work is during the film's more serious moments, which are…
The Gentlemen's Guide to Midnite Cinema is a podcast discussing all films genre related; covering everything from horror to Wuxia,…