Pulsions De Palma Critique Essay

Très décriée à son époque où l’on accusait De Palma de plagiat, Pulsions est aujourd’hui considérée comme une oeuvre importante dans la filmographie du cinéaste. Vous pourrez juger sur pièce au cinéma dès le 25 juillet 2012.

L’argument : Une jeune femme à la vie sexuelle perturbée consulte un psychiatre. A la suite de cette entrevue, elle passe la nuit avec un inconnu rencontré dans un musée. Le lendemain, elle se fait assassiner par une mystérieuse blonde. Une call-girl qui a assisté au drame est traquée par la meurtrière...


Notes : Après avoir donné au public sa version de Sueurs froides avec l’excellent Obsession (1976), Brian De Palma vient à nouveau chasser sur les terres d’Alfred Hitchcock en s’emparant cette fois de Psychose. Effectivement, Pulsions en reprend la thématique centrale et également la structure originale puisque le personnage incarné par Angie Dickinson, star du film, disparaît au bout d’une demi-heure de projection, comme autrefois Janet Leigh dans le chef d’oeuvre du maître du suspense.
Le retournement de situation final est également largement inspiré de celui de Psychose, mais nous n’en dirons pas plus. A noter que Pulsions a reçu un accueil critique mitigé à sa sortie, même si les journalistes français ont été bien plus laudatifs que leurs confrères américains. Le public hexagonal a même répondu présent avec 1 155 104 entrées, ce qui place le long-métrage à quelques petites encablures de Carrie qui avait fait un peu plus d’1,3 millions d’entrées.

Virgile Dumez

Dressed to Kill is a 1980 American eroticmysterythriller film written and directed by Brian De Palma and starring Michael Caine, Angie Dickinson, Nancy Allen, and Keith Gordon. It centers on the murder of a housewife and an investigation involving a young prostitute who witnessed the murder, the victim’s teenaged son, and her psychiatrist. The original music score is composed by Pino Donaggio.

Plot[edit]

Kate Miller is a sexually frustrated housewife who is in therapy with New York City psychiatrist Dr. Robert Elliott. During an appointment, Kate attempts to seduce him, but Elliott rejects her advances.

Kate goes to the Metropolitan Museum of Art where she has an unexpected flirtation with a mysterious stranger. Kate and the stranger stalk each other through the museum until they finally wind up outside, where Kate joins him in a taxi. They begin to have sex and continue at his apartment.

Hours later, Kate awakens and decides to discreetly leave while the man, Warren Lockman, is asleep. Kate sits at his desk to leave him a note and finds a document indicating that Warren has contracted a sexually transmitted disease. Mortified, she leaves the apartment. In her haste, she has left her wedding ring on the nightstand, so she returns to retrieve it.

The elevator doors open on the figure of a tall, blond woman in dark sunglasses wielding a straight razor. Kate is violently slashed to death in the elevator. A high-priced call girl, Liz Blake, happens upon the body. She catches a glimpse of the killer, therefore becoming both the prime suspect and the killer's next target.

Dr. Elliott receives a bizarre message on his answering machine from "Bobbi", a transgender patient. Bobbi taunts the psychiatrist for breaking off their therapy sessions, apparently because Elliott refuses to sign the necessary papers for Bobbi to get a sex change operation. Elliott tries to convince Dr. Levy, the patient's new doctor, that Bobbi is a danger to herself and others.

Police Detective Marino is skeptical about Liz's story, partly because of her profession, so Liz joins forces with Kate's revenge-minded son Peter to find the killer. Peter, an inventor, uses a series of homemade listening devices and time-lapse cameras to track patients leaving Elliott's office. They catch Bobbi on camera, and soon Liz is being stalked by a tall blonde in sunglasses. Several attempts are subsequently made on Liz's life. One, in the New York City Subway, is thwarted by Peter, who sprays Bobbi with homemade mace.

Liz and Peter scheme to learn Bobbi's real name by getting inside Dr. Elliott's office. Liz baits the therapist by stripping to lingerie and coming on to him, distracting him long enough to make a brief exit and leaf through his appointment book. Peter is watching through the window when a blonde pulls him away. When Liz returns, a blonde with a razor confronts her; the blonde outside shoots and wounds the blonde inside, the wig falls off, and it is Dr. Elliott, revealing that he is also Bobbi. The blonde who shot Bobbi is actually a female police officer, revealing herself to be the blonde who has been trailing Liz.

Elliott is arrested and placed in an insane asylum. Dr. Levy explains later to Liz that Elliott wanted to be a woman, but his male side would not allow him to go through with the operation. Whenever a woman sexually aroused Elliott, Bobbi, representing the unstable, female side of the doctor's personality, became threatened to the point that it finally became murderous. When Dr. Levy realised this through his last conversation with Elliott, he called the police on the spot, who then, with his help, did their duty.

In a final sequence, Elliott escapes from the asylum and slashes Liz's throat in a bloody act of vengeance. She wakes up screaming, Peter rushing to her side, realizing that it was just a dream.

Cast[edit]

Production[edit]

The nude body in the opening scene, taking place in a shower, was not that of Angie Dickinson, but of 1977 PenthousePet of the Year model Victoria Lynn Johnson.[3] De Palma originally wanted Norwegian actress Liv Ullmann to play Kate Miller, but she declined because of the violence. The role then went to Angie Dickinson. Sean Connery was offered the role of Robert Elliot and was enthusiastic about it, but declined on account of previous commitments.[4] Connery would later work with De Palma on The Untouchables. De Palma called the elevator killing the best murder scene he has ever done.[5]

Two versions of the film exist in North America, an R-rated version and an unrated version. The unrated version is around 30 seconds longer and shows more pubic hair in the shower scene, more blood in the elevator scene (including a close-up shot of the killer slitting Kate's throat), and some sexier dialogue from Liz during the scene in Elliott's office. These scenes were trimmed when the MPAA originally gave the film an "X" rating.[citation needed]

Reception[edit]

Dressed to Kill currently holds an 84% "fresh" rating on Rotten Tomatoes based on 43 reviews for an average rating of 6.6 out of 10.[6]Roger Ebert awarded the film three stars out of four, stating "the museum sequence is brilliant" and adding: "Dressed to Kill is an exercise in style, not narrative; it would rather look and feel like a thriller than make sense, but DePalma has so much fun with the conventions of the thriller that we forgive him and go along."[7] In his movie guide, Leonard Maltin gave the film 3 1/2 stars out of four, calling it a "High-tension melodrama", and stating "De Palma works on viewers' emotions, not logic, and maintains a fever pitch from start to finish." He also praised Pino Donaggio's "chilling music score."[8] "The performers are excellent, especially Miss Dickinson," wrote Vincent Canby in his July 25, 1980 The New York Times review. When Alfred Hitchcock was told that Brian De Palma intended Dressed to Kill as an homage to his movies, he responded “You mean fromage.”[dubious– discuss][9]

Allen earned a Golden Globe nomination for Best New Star, but a Razzie nomination, as well.

Accolades[edit]


The film is recognized by American Film Institute in these lists:

See also[edit]

References[edit]

External links[edit]

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