Just as Alfred Hitchcock called the "Master of Suspense", it is no exaggeration to call Brian DePalma the "Master of Horror". Palma may not have reached the height of Alfred Hitchcock's artistic achievements, but everything he did, including imitation and fascination with Alfred Hitchcock, did not prevent him from comparing with Alfred Hitchcock. Palma's focus is the same as that of Alfred Hitchcock: the precise movement of the camera, the careful selection of visual details, the character as a type rather than the pure existence of the individual, and violence as a means to break the secular balance. His films even have the strange costumes and unexpected plots that Alfred Hitchcock likes, and "Dressed to Kill" has all the advantages mentioned above, and it is also the best film ever made by Parma.
"Dressed to Kill" was adapted in 1970 by Palma based on Gerald Walker's novel Cruising. The ingenious and superb story development, confusing and confusing suspense settings, breathtaking dramatic tension and atmosphere create all of the shadows of Alfred Hitchcock, and even Hitchcock’s iconic depiction of the characters’ hearts and minds by showing details. The amazing cameras were inherited by Palma without any omission. Of course, this is not a simple picture of cats and tigers. Parma not only absorbed the charm of Alfred Hitchcock's film art, but also perfectly integrated it with his own unique film style, thus becoming the master of the film generation. The ending of the film is the most exciting baggage of the whole story, and it is similar to the ending of Alfred Hitchcock's classic "Psycho". The skilful and outstanding montage and the clean and inconspicuous transition cuts push the storyline forward in one go, without even giving the audience any breathing time, and have a place in horror films like "Psycho".
Parma opened the scene with the 45-year-old and charming Angie Dickinson taking a bath in the half-open bathroom to pay tribute to Alfred Hitchcock. It’s no wonder that women’s groups protested at the beginning of the film. No matter how Parma uses tiger skins such as art genres and creative freedom, he does not curtail pornography in these films. , Violence and blood. Palma is as obsessed with murder scenes as Alfred Hitchcock. But there are 5 murder scenes before and after this film, and the tension and horror of each scene can make people feel creepy. And Palma's killing was more extreme than Alfred Hitchcock, and the smell of blood was stronger.
The film can be described as a technical victory, and a shooting in the museum is brilliant. The slow movement of the camera and the warm and ambiguous music matched the actress’s expressive performance. A strong lust flowed in the search and pursuit of the two who refused to welcome them. Not only did they show the subtle relationship between them, but also the women. The inner hesitation and confusion and the fire of irrepressible desire are conveyed vividly. The whole scene starts with the woman taking notes, until the two get into the car and start making love. There is no dialogue between the characters in the scene for about 7 or 8 minutes before and after. Palma completely relies on audiovisual language to deeply and thoroughly explore the inner world of the characters and strengthen them. The carnal atmosphere of the whole film, the expressive power of the lens is not inferior to that of Alfred Hitchcock.
Videos show some bright spots: Angie Dickinson plays full of lust and guilt of middle-aged women a role unlike any she's played before, Maurice Joseph Micklewhite play split personality analysis of psychiatric doctors, Nancy Anne Allen then demonstrate metropolis The harsh living environment of prostitutes and the predicament of death are all wonderful.
