For the month of October, I will be highlighting films that fall within the horror and thriller genres. With this article, I will also be starting an extended series of reviews that will look at director Brian De Palma’s lesser known works that are a part of the mystery or thriller categories. Though best known for iconic movies like Scarface, The Untouchables, Mission Impossible and Carlito’s Way, for more than forty years De Palma has created lesser-known classic thrillers inspired by master director Alfred Hitchcock, as well as classic genres such as film noir, and then adds his own masterful spin and touches to these unique areas of cinema. Within this sub-section of De Palma’s work, his most famous film is probably the 1980 mystery thriller Dressed to Kill. It is this movie, that to his detractors, proved he was nothing but a Hitchcock rip-off artist, yet his fans were once again delighted by the man’s genius as a visually talented director that was on a higher plateau than anyone else at the time. You can probably guess that I fall within the second grouping of people.
De Palma’s exercises in movie making are visually driven. The camera is its own character, telling the story just as much as the dialogue. Along with the fact that his camera work and writing style usually involve different forms of twists and trickery, this tends to mean that a suspension of logic is needed, and if you can do this you will be taken on an excellent and mysterious ride with some of the most visually stunning film shots of all-time.
I must also warn that the unrated version of this motion picture is controversial in nature, with violence, language and nudity that may not be for everyone.
The story begins with Kate Miller, (Angie Dickinson) a middle aged housewife who is unhappy in her marriage. The opening scene will remind us of Hitch’s famous shower scene from Psycho, and if that shot was considered shocking for its time, this will be seen in the same light.
She then visits her psychiatrist, Dr. Elliott (Michael Caine), who is aiding her with the marital issues in her life. Following that meeting, Kate heads to the museum. She sits looking at a painting much like Kim Novak’s character in Vertigo, but then spots an enticing man who sits next to her on the bench. The next fifteen minutes is pure cinematic genius; with no dialogue, we watch as the two play a game of cat and mouse through the museum, a sultry dance that includes her lost glove and his attempt to return it. The camera allows us to follow the action, showing us varying perspectives and amazing tracking shots. You can probably guess that the pair end up spending the night together.
Another plot line follows escort Liz Blake (Nancy Allen), who happens to be the only witness to a shocking and suspenseful murder that occurs in an elevator, a crime committed by a person in large sunglasses named Bobbi, a patient of Dr. Elliott’s who is a woman trapped in a man’s body. Blake is left at the scene of the crime with the murder weapon, a razor blade, and is questioned by police Detective Marino (Dennis Franz) – who says that she is the main suspect. This puts her in a precarious position, forcing her to investigate the crime in an attempt to figure out who the real killer is. That is all I am going to say about the plot. There are several twists that must be left in the dark so that you can fully enjoy the film.
There are several scenes worth highlighting. There is a spilt-screen shot in which we hear a message Bobbi has left for Dr. Elliott, while at the same time seeing Liz Blake in her home. Both have a television on in the background with Phil Donahue interviewing a transsexual. The way De Palma times and splices the two different scenes together while having the television footage on in the background is complex and impressive. There is also a scene where Blake is being chased by the killer on the subway. While running, she disturbs a group of black gang members and must escape from them as well. She eventually bumps into a cop who investigates and, as we watch him look for the group of men, we also witness the killer board the train behind them. Soon after, the officer seems suspicious of Blake and the camera pans back and forth slowly between the two who are staring at each other as the lights in the subway car continuously flicker. In the window of the next car, the killer is seen only by the audience. This extended scene creates great suspense that puts us on the edge of our seat.
Some of the acting in this film must also be mentioned. Kate Miller’s son, Peter (Keith Gordon) is topnotch and very realistic as a mature whiz-kid who forms a bond with Blake. Dennis Franz is excellent as the sleazy New York cop. Michael Caine is superb as always as the cool, calculating doctor.
The score must also be highlighted. Pino Donaggio creates a score that is, for the most part, a pretty and romantic composition that contradicts the scenario of the picture beautifully.
Dressed to Kill has been De Palma’s most successful box office venture to date – at least, when it comes to his Hitchcock inspired thrillers. It is a film that has so many memorable moments, which include interesting dream sequences, surprise twists, unique camera shots, and some very suspenseful moments. If you are a fan of Hitchcock’s, try watching Dressed to Kill. There is a reason Brian De Palma was given the label of the ‘new’ Master of Suspense and the Master of the Macabre almost forty years ago.