Dressed to Kill

Horrorphile

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Dressed to Kill

August 19th 2010 23:13

It’s been thirty years since Brian De Palma released his giallo-inspired, blatantly Hitchcockian assault on the senses tagged as the latest fashion in murder. Dressed to Kill (1980) excited and offended audiences when it was released and had to be trimmed considerably in order to avoid an X-rating in the US. It was one of my early “adult” movie experiences (as it had been rated R18 in NZ) which I watched with mates on VHS (back in those glorious pre-cert video days). Later I scored a full-size poster, which is still one of my favourites. The movie hasn’t exactly aged like fine wine, but there’s still much to savour.

WARNING! CONTAINS SPOILERS!

Kate Miller (Angie Dickinson) has a steamy close encounter

The movie’s controversial opening sequence features attractive, middle-aged Kate Miller (Angie Dickinson) in the shower while her husband, Ted (Norman Evans) is shaving. With the steamy hot water cascading over her body she gazes through the translucent shower stall glass and caresses her breasts and masturbates. A male figure emerges from the steam behind her and clamps one hand over her mouth, his other pressing her own hand against her crotch. Kate squirms and writhes in shock. Is this a sexual fantasy or a real violation? Suddenly we cut to an overhead morning shot of Ted humping away on top of Kate. He finishes, gives his wife a peck, and slips out of bed, leaving Kate all hot, bothered and unsatisfied.

Dressed to Kill Michael Caine, Nancy Allen

Dr. Elliott (Michael Caine) in a classic De Palma split-screen shot

After a brief chat with her science geek son Peter (Keith Gordon) Kate has a therapy session with Dr. Elliott (Michael Caine) where she voices her sexual frustration and complains of her husband’s lousy skills as a lover. Dr. Elliott humours her, listening intently, offering vague comments, complimenting her, and arranges the next session. Kate then spends time appreciating modern art at the local museum where in an extended sequence she flirts with a stranger (Ken Baker) who hides behind sunglasses and who eventually entices her into his waiting cab. Against her better judgment Kate indulges in a sexual liaison at the man’s apartment.

Liz (Nancy Allen) with Bobbi in the background

But Kate’s afternoon delight turns into a full-blown nightmare when she becomes victim to a tall blonde in dark sunglasses and a trenchcoat wielding a straight razor who slashes her to death in the elevator. The only witness is call-girl Liz Blake (Nancy Allen) who glimpses the killer in the lift’s mirror. Cynical Detective Marino (Dennis Franz) is on the case, as is Kate’s son Peter who fashions an elaborate camera set-up in order to capture the killer leaving Dr. Elliott’s office, since the doctor has received phone messages from one of his unhinged patients, Bobbi, giving details of the murder.

Dressed to Kill Dennis Franz, Michael Caine, Keith Gordon

Det. Marino (Dennis Franz), Dr. Elliott, and Peter (Keith Gordon)

Brian De Palma has always been criticized as a director of style over substance, and Dressed to Kill (even in title) is no exception to this all-too-tenuous analysis. He’ll be the first to defend his movies stating his technique is simply employing the most honest, yet most expressionist methods in telling a story for the big screen. Most of De Palma’s movies are excellent examples of the power of visual storytelling. Alfred Hitchcock was a master at this restrained (in terms of dialogue and exposition), yet elaborate and succinct (in terms of mise-en-scene, film grammar) form of narrative. Dario Argento is another director who is pigeon-holed as a Hitchcock rip-off merchant. In no way are either of these directors mimicking Hitchcock, they are appropriating a striking and efficient method of storytelling that Hitchcock championed and made his own. Filmmakers, like all artists, borrow (steal, pay homage, whatever) from those that impress them. If there is any criticism to be laid upon De Palma (and the same goes for Argento) is that despite their mastery of the medium, they’ve also delivered as many turkeys as they have peacocks. Dressed to Kill isn’t a turkey, but while it struts it does gobble here and there.

Bobbi with her trusty steel

Upon this most recent viewing I’d have to admit that Dressed to Kill is a now a guilty pleasure. The trashier elements of the movie outweigh the high art. During the long museum seduction sequence one could be confused into thinking they’re watching a strange midday romance TV movie with Pino Donaggio’s over-ripe score. Just like nearly all of Argento’s movies Dressed to Kill’s special effects are unconvincing; the blood looks like bright paint. But like Argento, I can’t help but be seduced by De Palma’s widescreen compositions and virtuoso set-pieces, his expert command of tension and suspense, and his red-blooded sensuality. De Palma would revisit many of the same elements in the inferior Body Double (1984) to absurd and risible effect. However Dressed to Kill’s psycho-sexual overtones make for a far more intriguing and provocative movie. De Palma leaves the psychological door ajar, but allows the carnal light to bounce off the blade poised in the darkness. This is artful exploitation.

Dressed to Kill Bobbi, Angie Dickinson, Nancy Allen

A reflection of murder

Just like in Psycho (1960) - the biggest influence on Dressed to Kill (although the story is gleaned from an experience De Palma had as an adolescent when he followed his father around with recording equipment trying to catch him out as an adulterer) - De Palma throws a red herring to the audience early on, and then pulls the carpet out from under them when he kills off his apparent lead character less than half an hour into the movie. He also successfully confuses the hell out of his audience when he has the character of Bobbi, the transvestite and suspected psycho-killer, being voiced by William Finley (from De Palma’s Phantom of the Paradise), although in context it can be explained as one character’s subjective hearing.

Liz applies her trade in a ruse

Nancy Allen, De Palma’s girlfriend at the time (they’d got together on the set of Carrie) looks great in black suspenders, brassiere and stilettos, but her performance is painful at best. She’s one of the great thorns in Dressed to Kill’s side. The scenes with Det. Marino and, in particular, the utterly pointless scene at movie’s end where she discusses transsexuality with Peter (only to offend an elderly woman in the background in an ill-conceived attempt at humour), only highlight her limitations as an actor. Michael Caine, on the other hand, delivers one of his more under-rated performances (a role originally offered to an enthusiastic Sean Connery, who was unavailable). However I’m not a fan of Dennis Franz, and his performance is unconvincing and thankless.

Dressed to kill, the shoes maketh the man

Dressed to Kill has five endings! The first when Bobbi is shot by police and his real identity is revealed. The movie could’ve ended there. Then we have the aforementioned café conversation scene between Liz and Peter. How about ending right there? Nope. We’re then presented with a surreal scene depicting Dr. Elliott’s escape from the insane asylum where he strangles the nurse, to the cheers of the lunatics watching from the railing a floor above, and he unzips her uniform (revealing sexy suspenders underneath, what a surprise!). Is that the shock end! No, now we have a POV approaching Liz’s house where she is showering inside. Bobbi a la nurse has entered the house and is waiting. Liz senses danger, and spies the nurses’ shoes just outside the bathroom. Oh no! She tries to sneak quietly out of the shower but Bobbi is actually right beside the shower and (s)he slices his razor deeply through Liz’s throat. Surely the shock end?! But no, Liz jumps awake screaming in bed, and Peter runs to her side.

It was just a terrible nightmare! But something’s not quite right …

NB: The curious French-Canadian title is Pulsions, whatever that means!

Here’s the trailer:

127

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Posted By: Bryn - Category: movie reviews

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Comments

13 Comments. [ Add A Comment ]

Comment by Anonymous

August 20th 2010 02:11

I remember this one...It was okay...with a few decent twists but I dont know kind of unsatisfying

Comment by Bryn

August 20th 2010 03:19

Horrorphile

Anon, when did you first see it? When it came out in 1980?? Cut version on VHS? Cut version on TV?

Comment by Matt Shea

August 20th 2010 05:58

Great review Bryn. I probably shouldn't have read it TBH, because I've never checked this out. I tend to be a De Palma defender - it's all about the visual storytelling and the guy tends to get it. Will try and dig up the DVD at some point.

Comment by Bryn

August 20th 2010 06:18

Horrorphile

Matt, I know I'm a spoiler, although for the most part I do provide a warning. I just much prefer to discuss a movie in its entirety, which means including spoilers. Thanks for the props. You haven't wished me happy birthday yet

Comment by Matt Shea

August 20th 2010 06:23

Oh yeah, you gave me fair warning - I just can't resist reading on sometimes.

You haven't wished me happy birthday yet

Bloody hell, you're worse that my girlfriend!

Comment by David O'Connell

August 20th 2010 06:24

20/20 Filmsight
Screen Fanatic

I hear what you're saying Bryn about how this may have dated in some ways but I could still watch it any day of the week. Same with all of De Palma's early films. Those dialogue-free opening and museum sequences with Donaggio's mesmerising score doing the narrating are just gold.

The old argument of style-over-substance? If De Palma's dishing it up, I'd come begging for more every time.

Comment by Matt Shea

August 20th 2010 06:25

*than

Comment by ShaunK

August 21st 2010 00:15

Screen Adventure

Even thought Depalma hasnt done anything really good in yonk - I tend to still be a sucker for him when he's ON and when he's on he is so fucking on - what was his last great film? Carlito's Way maybe?

I havn't seen this Bryn so there for - dont want to read it for fear of spoilers - but seeing it on your site has put it higher up on my must see list....

Have you seen 'Blow Out' - possibly my favorite Deplama film

Comment by Bryn

August 21st 2010 05:17

Horrorphile

Matt, I'm your worse nightmare!

David, I hear ya. Even De Palma's bad movies are better than most. Well, with a few exceptions.

Shaun, yeah, probably Carlito's Way. Great movie. Although Femme Fatale was a guilty pleasure, and Snake Eyes had Carla Gugino.

I love Blow Out. That and Scarface are my two favourite De Palma movies.

Comment by Anonymous

August 21st 2010 15:07

Depalma made a movie about people with psychic abilities that was really good in spite of being incredibly corny in a bmovie horror sort of way what the hell was that one called

Comment by Bryn

August 22nd 2010 02:09

Horrorphile

Anon,
The movie was called The Fury (1978).

Comment by JohnDoe

August 29th 2010 15:54

Film & TV on DVD

Quality De Palma trash with flair here and you did it justice with your review Bryn,

Certainly one of his most entertaining thrillers and yes that Angie Dickinson opening made me an instant fan in my teen years.

There is a sense of fun and a well handled atmosphere of tension that permeate throughout. Even at its silliest you still want to go along for the ride.