The Grand Budapest Hotel
As much as "The Grand Budapest Hotel" takes on the aspect of a cinematic confection, it does so to grapple with the very raw and,…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Peter Sobczynski ranks 27 films by Brian De Palma.
The public and the private, the personal and the political: Although this isn't precisely the opening shot of "Greetings" described here, it's part of it, showing the same TV, the same book and the same coffee pot in the same apartment. Frame grabs to come...
Excerpt from my programme notes for a double-bill of "Greetings" and "Hi, Mom!" -- the first presentation in a Brian De Palma series programmed by R.C. Dale at the University of Washington, April 14, 1981:
.... "Greetings," De Palma's 1968 anti-military/anti-war movie mélange, was the first of his films to find an audience. In fact, it was so successful that "Hi, Mom!" was conceived as a sequel (originally to be called "Son of Greetings"). "Greetings" is an ebullient comedy, and a brazenly disturbing mixture of movie-movie acrobatics and American counter-culture politics in the manner of pre-l968 Godard. Critics have emphasized over and over De Palma's debt to filmmakers such as Godard and (especially over-emphasized) Alfred Hitchcock. In "Greetings," Michelangelo Antontoni's "Blow Up," another hip youth-cult film of the time, also looms large. But the filmmaker whose specter really presides over this film is that of Abraham Zapruder, the man who made the most famous home movie of the Kennedy assassination at Dealy Plaza. The first thing we see in DePalma's movie is a television set carrying a speech by President Johnson. In front of the set sits a book: "Six Seconds in Dallas." "Greetings," made five years after the assassination, is a picture of a nation obsessed with six seconds of 8 mm Kodak movie film. Right away, De Palma begins detailing the dissolution of the barrier between the personal and the political in American society; just as, in this and subsequent films, he will dissolve the barrier between the film and the audience, between horror and humor, between public and private.