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
Одет для убийства, Одежда для убийства, Одетый для убийствa, Pulsions, Kledd for mord
Thrillers and murder mysteries Intense violence and sexual transgression Horror, the undead and monster classics horror, creepy, eerie, blood or gothic cops, murder, thriller, detective or crime violence, shock, disturbing, brutal or graphic film noir, femme fatale, 1940s, thriller or intriguing horror, gory, scary, killing or gruesome Show All…
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…
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.
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.
De Palma é talvez nosso formalista mais conceitual justamente porque é um dos diretores que melhor lida com uma bagagem histórica-estética do cinema, e não é nem uma questão de reinventar certos modelos, mas de expandi-los a um tal grau icônico que esse movimento radical de mediação já se basta como concepção. O que nada mais é que a própria definição da arte conceitual, partir de um histórico elementar da própria linguagem e isolá-lo: os gestos suspensos nos slow motions, as replicações hitchcockianas, a câmera que faz questão de ser percebida em seus movimentos. Toda uma realidade que se funda a partir da historicidade da própria linguagem cinematográfica e tem por finalidade a genuína exposição dos seus aparatos ao mesmo tempo que reitera o seu encantamento primordial.