I was enjoying this as an essay about itself/about remaking VERTIGO (and probably some other stuff I missed while in the bathroom), then that masterful final sequence hit and the needle went from 3 1/2 to four stars, because I realized I kind of cared about these tragic characters too.

If the critics and nerdlingers who decried this for being "nothing but a Hitchcock knock-off" only knew what the popular cinema landscape was like now, they would probably kill their own wife and daughter for something even remotely as technically well executed and idiosyncratic as this.

DePalma's Hitchcock films >>> DePalma's Gangster films.

It's played for pure sensationalism, but wow, just take the opening for example: the cuts come hard and fast, the shots are incisive close-ups. This is De Palma working much more abstractly than Hitchcock, his focus is on creating poignant and indelible images that seem to have the singular purpose of driving towards striking horror (perhaps more purely achieved in his next film, The Fury). Of course, the structure is complex and plot perhaps overwrought, but that's what defines this as a De Palma fim complete with self-aware irony and smiling nods to its influences. A stylish and bold piece of thriller.

What's good film criticism anyway if not love distorted by memory and private fears?

Tan central para la obra de De Palma como lo es para la de Schrader.

SHOCKTOBER 2018: #17

Even when De Palma is at his most openly unoriginal I can't help but have a great time with his films. Yes this is a semi-remake of 'Vertigo' but it's a damn good watch and manages to justify its existence by introducing enough changes to make it its own thing. Not top tier De Palma but still a must see for fans.

My 2018 was Dad based and it was the year I discovered the Genius that is Brian DePalma - and I went on holiday to Italy

So it's fitting that I just watched a Brian DePalma film about a dad who goes to Italy

Not as Depalma'ry as I wanted it to be - but pretty good ( I really need to watch them all again to update the ranks now I know all the trademarks and what I love about his direction - Mainly the way he controls the audience with his time manipulation slow down scenes - As If he was the Skrillex of the 1970's and you're waiting for that 'Hitchcockian Drop' )

I post vague reviews when I know others haven't seen it yet so they can go in as blind as I did

Loved the Airport scenes tho

The dream team altogether for one film: Brian De Palma, Vilmos Zsigmond, Paul Hirsch, Bernard Herrmann, and Paul Schrader. Formally astounding. The most serious (using this word lightly) & straight-laced Hitchcock riff De Palma ever attempted. Absolutely phenomenal, but will never get the credit it deserves.

My mom recommended this to me because it was one of her childhood faves and wow does this thing look and sound gorgeous.

Early De Palma and Schrader 👍🏻

Si se trata de preservar la belleza, nada mejor que contar con Bernard Herrmann y Vilmos Zsigmond a tu lado, pero hay otras obras de Brian de Palma que provocan síntomas propios del síndrome de Stendhal más allá del Vértigo.

girl ig we going incest

im confused and this is why

A big operatic Hitchcock film with a relentlessly melodramatic Bernard Herrmann score that keeps you close to breathless until the very end.