Synopsis
A mysterious, tall, blonde woman wearing sunglasses murders one of a psychiatrist's patients, and now she's after the prostitute who witnessed it.
1980 Directed by Brian De Palma
A mysterious, tall, blonde woman wearing sunglasses murders one of a psychiatrist's patients, and now she's after the prostitute who witnessed it.
Nancy Allen Michael Caine Keith Gordon Angie Dickinson Dennis Franz David Margulies Ken Baker Susanna Clemm Brandon Maggart Amalie Collier Mary Davenport Anneka Di Lorenzo Norman Evans Robbie L. McDermott Bill Randolph Sean O'Rinn Fred Weber Samm-Art Williams Robert Lee Rush Anthony Boyd Scriven Robert McDuffie Frederick Sanders Paul DeCeglie William Finley Erika Katz Mark Margolis Lisa Peluso Jerry Schram Victoria Lynn Johnson
Одет для убийства, Одежда для убийства, Одетый для убийствa, Pulsions, Kledd for mord, Vestida para matar, Жажда за убийство, Vestida per matar, Oblečen na zabíjení, Klædt på til mord, Προετοιμασία για Έγκλημα, Vestida para Matar (Dressed to Kill), Tappava tunnustus, לבוש לרצח, Gyilkossághoz öltözve, Vestito per uccidere, 殺しのドレス, 드레스드 투 킬, W przebraniu mordercy, Vestida para Matar, Îmbrăcată pentru a ucide, Бритва, Oblečený na zabíjanie, I nattens mörker, เชือดสยองหมอโรคจิต, Ölüme Kuşanmak, 剃刀邊緣, 剃刀边缘
93/100
The opening of Dressed to Kill, with its soft-core seduction and luscious yet calculated imagery, is Brian De Palma grasping his fundamental characteristics and shrinking them into a singular sequence of delight and horror. A woman, standing naked in the shower, is watching her husband shave behind the foggy glass, and as dreams morph into fantasies and nightmares, we as an audience witness an entire history of a relationship through sensual gestures and primal fixations.
It is this woman, played by Angie Dickinson, who De Palma takes not as his main subject but as a flirtatious prisoner of sorts. Cutting from the opening sequence, we see Kate having sex with her husband in an unromantic and unsatisfying fashion, and…
My favorite part of this movie is that Michael Caine's therapist character is repeatedly propositioned for sex by his female clients who all ask him "don't you want to fuck me doc?" and his response is always "absolutely!"
dear brian de palma,
let's link and build King. too soon for a remake? jason weinberg is my manager--do you know each other? he takes care of melanie griffith, whom you worked with on 'the bonfire of the vanities.' i think you'd just Adore me--as an actress, i mean! after all, i am a brunette
love,
hari
I like the acknowledgment of how tough it is to be a gal, the sympathetic look into an older woman's desires, the touched-upon-but-not-fully-developed issues of victim blaming, the confusions of masculinity and femininity. That all this is done from such a ~sexy~ male point of view is...questionable, as is, obviously, the implications of the ending. But the gender politics should be dissected by someone smarter and more knowledgeable than me.
Leave all of that out of the equation, and you still have a beautiful thriller that pulls off being campy AND scary AND exciting AND emotional all at once. Elegant exploitation.
De Palma had a Hitchcock marathon, watched a few 70's Argento films, drank a bottle of whiskey, passed out...and this film is us watching his dreams. The "rip off or homage?" debate is valid, but I like to think that he saw the sexuality just begging to be let out in Hitchcock's films, and decided to set it free.
A hooker and a geek join forces to end transphobia once and for all but they only make it worse.
brian de palma be like: cool shit, camera angles, dumb shit, sex!!!!, more cool shit, tension, sex!!!!!!!!!!!!!, pseudo-Freudian shit, confusing shit, more dumb shit, sex!!!!!!!!!!!!!!!
add a bowl of steaming hitchcock, a pinch of red, and (unfortunately) some problematic and outdated stereotypes about trans-people. stir.