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Brian De Palma has been using Italian film composer Pino Donaggio intermittently for more than 40 years, since their first (and still largest) collaboration, "Carrie," in 1976. Donaggio, with his dissonant neo-Bernard Herrmann purple extravagance lush, is to De Palma what Angelo Badalamenti has been to David Lynch: a composer of hauntingly scary melodies that evoke a kind of meta-romantic delirium of old Hollywood. Hearing the unimaginable sounds of another richly orchestrated Donaggio swoonfest covering the immobile and immovable scenes of the jerky "international" crime thriller "Domino" is to watch De Palma try to create a cinematic fire from burnt match sticks.
There are legendary examples of filmmakers claiming that their work was cut to pieces by ignorant producers: George Cukor's 1954 version of "A Star Is Born" (though in this case, studio rendering is better), or that of Jonathan Demme "Swing Shift. But what should we do with a film like "Domino" which, according to De Palma, was taken from him and reissued – and yet, the version that was theatrically released and mostly shot in VOD is such an badembly lame of police-movie conventions that it's hard to imagine what any version of this movie could have added.
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An early sequence has a glow of flamboyance De Palma. Nikolaj Coster-Waldau, as a forensic policeman in Copenhagen, is so caught off guard that his good-bye to his vigorous girlfriend forgets him to take his weapon, on which the camera zooms slowly, as if was the fateful key of "Notorious. "Then, after he and his partner (Søren Malling) respond to a call about a family conflict, they discover not a violent husband, but a terrorist (Eriq Ebouaney) who looks like an activist of the At the end of the 1960s, which cut his throat, Coster-Waldau renounced all common sense, but it could also be argued that it was what he did when he served his time-out "Game of Thrones" to play in a low-budget movie De Palma – chasing the attacker through the roof clattery tiles that ceaselessly slide in. By the time he is hanging from a drain pipe, we realize that the whole sequence is no more than a minimal excuse for De Palma, who wants to taste "Vertigo." But in this "Is he really going there? again? "From Palma, at least, it's interesting to watch.
The drama of the not so hot pursuit that follows is far from interesting. To be honest, it's deadly. It is sketchy, artificial and sometimes incomprehensible. If it is possible that the postman factor is the result of the reissue of the producers, what seems more likely is that De Palma turned in a cup that had the frenzied illogy of a A movie like Snake Eyes, and the money people were trying to use, limited the damage, which did not work, because it rarely worked.
Even when we can say what happens in "Domino", we feel that the intention of De Palma does not stand up. Guy Pearce, as a CIA heavyweight whose name is used as a signifier of corruption in the 70s, attaches to the terrorist (who has a personal agenda) and starts working with him, but the film is more interested in what this union represents – the United States. States is in bed with forces that he claims to be opposing! Noam Chomsky would look at this and would agree! – Then, how is it logistically? "Domino" is a genre that is illustrated by the movies "Bourne". It's like a thriller "Bourne" reduced to a paper football game.
In addition to this "Vertigo" fanfare, the film contains other De Palma tics, such as binocular POV shots (I am not an expert in underground terrorist technology, but does anyone use binoculars?), Or a conversation in front of a windmill that evokes "Foreign Correspondent", or the sequence of the film that I honestly liked: a terrorist (Sachli Gholamalizad), whose training is over, will carry out his mission suicide – an attack at a film festival in Amsterdam this looks like the red carpet staircase in Cannes. We have shared images of the split screen De Palma: on one side, the face of the terrorist (she looks haunted – a sympathetic gesture), and on the other side What she sees and is filming, a POV picture in the first person of her machine gun rip by celebrity swells to a movie premiere. The message is supposed to be that terrorism has become a form of cinema, but only De Palma would badociate jihad, video games and the first mbad shoot at a film festival to evoke … what? The apocalypse of film lovers? In fact, this feeling is pretty well evoked by the rest of "Domino".
There is another "vintage" sequence from De Palma: the culmination of a Spanish bullfight. The way it was organized could have been any sporting event, with a terrorist pretending to be a street vendor of stadium concessions releasing the explosion of his bombs, while a camera drone was hovering to film everything. Finally, there's the money shot from De Palma: the gliding slow motion, the sensual anguish of the imminent attack, the retransmission of what he has been playing since the sequence of Carrie's ball. As director, Brian De Palma lives for these sequences, and as much as I have complained about his films over the years, when they happen, the movies are alive. When they do not happen, you can feel the anxiety of De Palma back on the board.
Film review: "Domino" by Brian De Palma
Reviewed at Cinema Village, New York, May 31, 2018. MPAA Rating: R. Duration: 89 MIN.
Production:
A backup studio, released by Saban Films from a production of Schønne Film, in co-production with Zilvermeer Productions, N279 Entertainment, Action Brand, Recalcati Multimedia, Animated Images for Light Industry, Beluga Tree, Proximus, with the participation of Cbad +, Ciné +, in badociation with Global Road. Producers: Michel Schønneman, Els Vandevorst. Executive Producers: Joel Thibout, Jean-Baptiste Babin, David Atlan-Jackson, Peter Gardner, Petter Skavlan, Nikolaj Coster-Waldau, Anne Lindberg, William Bromiley, Shanan Becker, Jonathan Saba.
Crew:
Director: Brian De Palma. Scenario: Petter Skavlan. Camera (color, widescreen): José Luis Alcaine. Publisher: Bill Pankow. Music: Pino Donaggio.
With:
Nikolaj Coster-Waldau, Carice van Houten, Guy Pearce, Eriq Ebouaney, Mohammed Azaay, Søren Malling, Paprika Steen.
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