Hello, there! My name is Preston Barta, and I am the features editor of Fresh Fiction and senior film critic at the Denton Record-Chronicle. My cinematic love story began where I was born: off planet on the isolated desert world of the Jakku system. It's there I passed the time scavenging for loose parts with my good friend Rey. One day I found an old film projector and a dusty reel of the 1975 film JAWS. It rocked my world so much that I left my kinfolk in the rearview (I so miss their morning cups of green milk) to pursue my dreams of writing about film. It wasn't long until I met two gents who said they would give me a lift. I can't recall their names, but one was an older man who liked to point a lot and the other was a tall, hairy fella. They got me as far as one of Jupiter's moons where we crossed paths with the U.S.S. Enterprise. Some pointy-eared bastard said I was clear to come aboard. He saw that I was clutching my beloved shark movie and invited me to the "moving pictures room" where he was screening the 1993 film JURASSIC PARK to his crew. He said my life would be much more prosperous if I were familiar with more work by the god named Steven Spielberg. From there, my love for cinema blossomed. Once we reached planet Earth, everything changed. I found the small town of Denton, TX, and was welcomed into the Barta family. They showed me the writings of local film critic Boo Allen. He became my hero and caused me to chase a degree in film and journalism. After my studies at graduate of the Hogwarts School of Witchcraft and Wizardry, I met some film critics who showed me the ropes and got me into my first press screening: 2011's THE GREEN LANTERN. Don't worry; I recovered just fine. MAD MAX: FURY ROAD was only four years away.
Preston Barta // Editor
Of all the storied filmmakers of the 1970s, De Palma was very much the outcast. He broke the rules and changed the game with cult films such as BODY DOUBLE, FEMME FATALE and PHANTOM OF THE PARADISE (also screening at the festival). And even though he’s not as active these days on set, he created some of the most unique works of art to admire and revisit.
As we prepare for the release of DE PALMA, let’s look back at De Palma’s greatest achievements in cinema.
1. CARRIE (1976)
CARRIE is De Palma at has his peak. The blood stained images of actress Sissy Spacek has haunted the minds of children and adults for 40 years. The film has a sense of dread that trickles through every frame and through every heinous prank enacted by the cruel high school students.
De Palma had this film working on a multitude of tonal levels that only a master could manage. On one hand you have a high school horror film filled with gore, and on the other you have a fanatical mother played incredibly by Piper Laurie, who takes the film to a whole other level of terror.
Carrie is an oppressed woman stuck in several moments she can’t get out of, and De Palma frees her of the burden of life as a suburban teen by giving her a finale that goes down as one of the most electrifying and kinetic climaxes in film history. Plus, who doesn’t love to see a young John Travolta.
– James Cole Clay
2. DRESSED TO KILL (1980)
It’s impossible to talk about Brian de Palma’s works and not mention what is considered one of the best thrillers ever, DRESSED TO KILL. Starring Michael Caine as a psychologist wrapped up in the motives of a killer, the movie made a splash with its frank discussion (and display) of sex. It’s especially poignant given that the year it debuted marked a transition from the party-era of the 70s to the fear-stricken and unsure 80s.
To be fair, there can’t really be a discussion of the plot without spoiling something, but it plays out like an adult slasher movie, complete with the subgenre’s characteristics: an unknown killer, promiscuity becoming punishment, the STD/antagonist metaphor. It’s “adult slasher” because of the fact that the sex involved isn’t something gratuitous, but plays into a personality. For example, Kate (Angie Dickinson) is bored because her lover is terrible in bed. So, she longs for excitement, leading her to a voyeuristic tryst, which leads to consequence.
De Palma had already started garnering murmurs that he was to be the next Hitchcock, and DRESSED TO KILL seemed to be an indicator, what with the shower scene, shocking turns, use of camera framing to accentuate the narrative. Hitchcock’s mantle remains in place, but it certainly cemented Brian de Palma as a director to look forward to. Over 25 years later, it has grown to be held in a high standard for suspense. (Fresh Fiction highly recommends getting the Criterion Collection restoration released last year)
– Jared McMillan
3. SCARFACE (1983)
SCARFACE is perhaps one of the most culturally significant films on this list. Its influence on both cinema and pop culture shows no signs of slowing down. It’s been over 30 years since we saw Tony Montana (Al Pacino) snort the biggest pile of coke you’ve ever seen and introduce us to his “little friend.”
Penned by Oliver Stone and directed by De Palma, SCARFACE featured Pacino at his manic best, playing a Cuban immigrant turned Miami drug lord. And while the movie is far from perfect compared to gangster films like GOODFELLAS and THE GODFATHER, the cult appeal of the film is astounding. It’s visceral storytelling with an intoxicating performance at its center… it easily deserves its place here.
– Preston Barta
4. THE UNTOUCHABLES (1987)
At this point in his career, Brian De Palma was known for having a deft hand when it came to the thriller. Wrought with tension, both atmospheric and sensual, viewers knew they were getting something suspenseful once they sat down in front of a screen. However, he has a great knack for action as well, as proven with one of his best works, THE UNTOUCHABLES.
The film opens by establishing Al Capone (Robert De Niro) as the heartless businessman he claims to be, blowing up a restaurant and killing innocent people as a byproduct of his business. The FBI then assigns Eliot Ness (Kevin Costner) to create a task force built on taking Capone down, but is quickly embarrassed after Capone gets the tip on a raid. But, the luck of the Irish strikes in the form of beat cop Jimmy Malone (Sean Connery), and Ness realizes he needs to recruit from outside the force in order to succeed.
Everything about THE UNTOUCHABLES hits on every level. From legendary composer Ennio Morricone’s deliberate and mysterious score to David Mamet’s electric screenplay, there are tons of memorable moments throughout the film. Just off the top you have Malone’s “Chicago Way” speech, Capone’s “I Want Him Dead!” tirade, and the Union Station sequence that’s an homage to Eisenstein’s Odessa Steps in BATTLESHIP POTEMKIN. All of it is due to the hand of de Palma, who uses close-ups and long takes like a surgeon, making the suspense play out. Arguably, it’s one of the best action films of all time.
5. MISSION: IMPOSSIBLE (1996)
The idea to bring the television series of MISSION: IMPOSSIBLE to the big-screen in 1996 seemed kind of ludicrous and dull. What director De Palma did is a singular vision that might not be up-to-par to what the series has transformed into, but the film had class, originality and it certainly wasn’t afraid to take chances.
This was star Tom Cruise’s first credit as a major Hollywood producer and De Palma was out of his element making a big-budget spy thriller. The marriage of these two only last for one film, yet De Palma was able to employ his own filmmaking tricks and camera work that imprinted the film world 20 years later and counting.
While the film has it’s faults, MISSION: IMPOSSIBLE is a mark in De Palma’s filmography that gave birth to bringing a signature auteurist flare to the spy genre.
DE PALMA premieres at the Oak Cliff Film Festival on Sunday at 5:45 p.m. Ticket information can be found on the event’s website at oakclifffilmfestival.com.