Paranoia and Distortion: Part 2 in Giallo

Alfred Hitchcock Acolyte Brian de Palma has funneled Master of Suspense and Giullo Troops in this big-budget American psychosexual thriller about a prostitute (Nancy Allen) who witnesses a murder and becomes the next target of the killer. The narrative, however, explores a theme de Palmao (additionally?), Simply denying the metataxual conversation about the audience in the complex construction of the image and the scenario. Body double (1984).

De Palma critics have cited his apparent hiccup influence as a negative, suggesting that his respect goes beyond the brand line and leads to restructuring or worse – exploitation of hack. Rebuttal, and I think Dress like crazy Strongly supporting this argument, De Palma modernized Hitchcock’s blueprint and in doing so challenged the acceptable boundaries of mainstream cinema. She is making a classic cocktail with all new ingredients.

Inside Dress like crazy, Borrow obsolete narrative construction from the director Psycho And sexual images and visual troupes from Giallo and European cinema have been counted. He combines this story about a black-gloved killer with filmmaking techniques that give it a Hollywood gloss.

The opening scene of the film, itself a known reef Psycho, Angie Dickinson standing naked in the shower and watching her husband shave through foggy glass. He is stuck in a fantasy — but soon that fantasy is interrupted by the violence of nightmares. With less hands, it would be pure exploitation, a naked woman sweating herself and exploring her own body as her neglected husband continues to perform her regular ablutions. De Palma reveals a faint relationship while moving the audience and then cuts to the emotionless, robotic sex couples. Her husband pats her on the head after concluding. Save the memory of this disgusting gesture as soon as the film is unveiled.

The movie’s most famous scene features Dickinson’s Kate and a stranger playing a cat-and-mouse flirtatious game inside the Metropolitan Museum of Art. PG-rated pornography is immediately associated with the threat of violence. Anyone familiar with the cinematic dictionary of Giallo and American Slash can identify the strategy. Pino Donagio’s score churned through the excitement, giving the audience a holding mark of expectation. Is this stranger an innocent flirt or a cold blood killer? The uncertain danger of Kate’s sexual attraction is just as we are drawn into the mystery.

Dress like crazyIts narrative framework has been accused of antisociality, but I think this text responds directly to nudity and violence against women without considering how De Palma chose to use this image to critique contemporary trends in horror cinema and draw viewers to its own pure perspective. Took. Since it participates and judges these women for their actions and desires. Why don’t you find any side of Brian de Palmer’s argument Dress like crazy A master class of suspense movies and computed audience feedback remains.

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