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Ironof. the bevt about DePaima these that can be Hitchcocks old echoes directfy day Vi 4Va0n td Milch-cock- ud detractws: the director is merely a highly proficient, fun loving technician. But here comes the Vampires Kiss. DePaima has taken the masterful Verhgo (and a dollop of Rear Window) and gutted it like a slaughtered cow. extracting all the complex emotions and devastating psychology. He has rattled the poetic structure, disrupting the symmetry and basic plot logic. He has changed the names and places to protect the guilty and accentuated the foul and flashy. The result is Body Double. DePalmas destructive reconstruction of Sir Alfred's great film has Craig Wasson neatly portraying a Hollywood actor plagued by severe claustrophobia. This causes him to be fired from thriller Vampires Kiss the because he can't hack the coffin scenes. 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In th original shot ivnmy Sir if t is lans ported through emotional tme and space, desperately hoping to recap tore Ns great low and purge tN gu:t that torments him. In Body Double, the subrd is pure lust as tN camera spms Out ol control in characteristic DePjimj rices s. later, in tN murder scene. DeRal ma violates his audience, his characters. and tN most basic human logic by introducing a massive power dnll. as out of place and tasteless a murder weapon here as tN chainsaw was in the execrable Scarface. The issue is not graphic violence but the utter lack of context and tN pointless C: cruelty. Perversely, in spite of all this, I enjoyed watching this film and greatly admire DePalma's skill, but I condemn these thoroughly derivative, inferior rehashes he keeps producing. Vampire's Kiss is more than just the title of tN Mm within the film; it is the nature of DePalma's relationship to Hitchcock; loving, parasitic, and soulless. I can only hope that DePaima will drive a stake through his sordid sensibilities and apply his gifts to original projects instead of arrogantly feasting on tN cadavers of his Ntters. |
