Hitchcock’s box of tricks re-worked

Press, 24 June 1985, Page 20

Hitchcock’s box of tricks re-worked

hans petfovk

BODY DOUBLE Directed by Brian De Palma Screenplay by Robert J. Avrech and Brian De Palma Brian De Palma is a selfindulgent film maker who loves to tip his hat to other directors by unashamedly using their themes and styles — yet in the process making them distinctly his own. In “Body Double” (Avon), he has blended something old, something new, and something blue, to give us the ultimate re-working of Hitchcock’s box of tricks with a touch of modern-day sensuality.

This erotic thriller starts in a mist-shrouded graveyard, with a gibbous moon on the horizon, and wolves howling in the background. The camera moves back to reveal a reclining body in a crypt; and then up to a

deathly face, which suddenly opens its eyes, and mouth to reveal a splendid set of vampire’s fangs. As the camera moves further back, we see that we are actually in a film studio during the shooting of a horror movie, and we realise that De Palma is having us on — as he continues to do for the rest of the show. One thing is made quite clear right from the start: the director intends to 'infuse his sense of humour throughout the lashings of suspense and sensuality of “Body Double.” De Palma first got the idea for this film while casting a body double for Angie Dickinson in “Dressed to Kill,” and if you are still not quite certain what this term means, you will have to sit right through the end credits to have it visually explained. The story is about a young actor (Craig Wasson) looking for a place to live, who is taken to a plush flat by a casual acquaintance (Gregg Henry). While pointing out the home’s amenities, Henry turns Wasson's attention — and a telescope — to the bedroom window of a stunningly attractive neighbour. Wasson watches her nightly cavortings, only to discover that he is not the only one keeping an eye on her. Fascinated, he begins to follow this mysterious girl

(Deborah Shelton) during the day, and comes to her assistance when she has her handbag stolen. The early part of this film has definite shades of Hitchcock’s “Rear Window,” with Wasson instead of James Stewart keeping an eye on the flat opposite — and this case also ends in a murder. It is not long, however, before one realises that De Palma is very selfconsciously following the outline of Hitchcock’s “Vertigo” (which was screened here only five weeks ago). There is the same basic idea of an innocent young man (Stewart/Wasson) who becomes fascinated, then sexually obsessed, with a distant female figure. Most of the time, Shelton is as elusive from a clear camera shot as Kim Novak was in “Vertigo,” remaining slightly out of focus, or misty. The man’s pursuit of her is equally compulsive and tedious in both films. If we have not missed the similarities by now, De Palma gives us again the ultimate, passionate kissing sequence, with the lovers rotating in front of a revolving camera — as in the stable scene in “Vertigo.” De Palma is not content, however, to limit his acknowledgements only to Hitchcock. There is also a definite touch of Tobe Hooper’s “Texas Chainsaw Massacre,” with that deadly

tool being replaced by ah electric drill for its added phallic thrust. I believe this murder scene received some modest trimming in the United States to obtain an R rating, and very probably was cut further in New Zealand. Whatever little may have been censored, I was surprised that “Body Double” rated an RlB here, for I found it completely inoffensive. Its much-touted erotic scenes were obviously put in more for their stimulating fun than any darker motives.

Yes, we see a couple making love in bed, there is the girl dancing around in her flimsies, some scenes from a porn movie, and the making of a delightfully blue video-musical. I doubt if such intentionally innocent attempts at sleaze will be enough to satisfy the raincoat brigade, who will find more hard work in the film’s increasingly complex plot. The director has the last laugh by giving us about four alternative endings — including one with a touch of “Carrie.” If you get the

point, you should be leaving the theatre laughing.too — otherwise, do not expect me to explain it to you. De Palma is often criticised for plagiarising other directors’ work. This is unfair, however, to a director who loves to openly acknowledge his debt to those who have gone before him. In that sense, his highlyentertaining, multi-faceted “Body Double” can be taken as the most personally identifiable — though not necessarily the best — of De Palma’s interesting body of work.