Dressed to Kill (1980)

User Rating:

7.1/10   

Director:

Brian De Palma

Writer:

Brian De Palma (written by)

Release Date:

25 July 1980 (USA)

Genre:

Horror | Mystery | Thriller

Tagline:

The Latest Fashion In Murder

Plot:

A transsexual murders one of his psychiatrist's patients, and now he's after the prostitute who witnessed it.

Plot Keywords:

Apartment | Psychiatrist | Elevator | Murder | New York

Awards:

Nominated for Golden Globe. Another 1 win & 6 nominations

Cast

Michael Caine	...	Doctor Robert Elliott
Angie Dickinson	...	Kate Miller
Nancy Allen	...	Liz Blake
Keith Gordon	...	Peter Miller
Dennis Franz	...	Detective Marino
David Margulies	...	Dr. Levy
Ken Baker	...	Warren Lockman
Susanna Clemm	...	Betty Luce
Brandon Maggart	...	Cleveland Sam
Amalie Collier	...	Cleaning Woman
Mary Davenport	...	Woman in Restaurant
Anneka Di Lorenzo	...	Nurse (as Anneka De Lorenzo)
Norman Evans	...	Ted
Robbie L. McDermott	...	Man in Shower
Bill Randolph	...	Chase Cabbie

Also Known As:

Vestida para matar (Argentina) (Peru) (Venezuela) [es]
Pulsions (Canada: French title) (France) [fr]
Vestida Para Matar (Brazil) (Portugal) [pt]
Gyilkossághoz öltözve (Hungary) [hu]
I nattens mörker (Sweden) [sv]
Klædt på til mord (Denmark) [da]
Obucena da ubije (Serbia) [sr]
Proetoimasia gia eglima (Greece) [el]
Strój zabójcy (Poland) [pl]
Tappava tunnustus (Finland) [fi]
Vestito per uccidere (Italy) [it]

Runtime:

105 min | USA:104 min (R-rated version)

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Iceland:16 | Singapore:R21 | USA:R (cut) | Portugal:M/16 | Brazil:14 | USA:X | Netherlands:16 | Italy:VM14 | Argentina:18 | Australia:R | Canada:R | Finland:K-18 | France:-16 | Norway:18 (1981) | Peru:18 | Sweden:15 | UK:18 | West Germany:18 | Ireland:18 | UK:X (original rating)

Filming Locations:

162 East 70th Street, Manhattan, New York City, New York, USA

Company:

Filmways Pictures

Trivia:

Average Shot Length = ~6.5 seconds. Median Shot Length = ~5.9 seconds.

Goofs:

Continuity: Outside the museum, Bobbi picks up the glove twice.

Quotes:

[last lines]
Peter Miller: Look, Liz, I've got to get home and get to work.
Liz Blake: Gee, I'm gonna miss having you on my tail. You made me feel kind of safe.
Peter Miller: Want to come home with me? I'd love the company.
Liz Blake: Wouldn't Mike mind?
Peter Miller: Mike's out of town on a business trip. We've got plenty of room.
Liz Blake: Great. I could sure use the vacation.
Peter Miller: Good, good. I'll get the check.

Movie Connections:

Referenced in Killing Zoe (1994)

prime form, trite contents

In France, it's considered polite from French critics to genuflect to the apparently cohesive chain of films Brian De Palma left behind him. However, a good proportion of his films are marred by bombastic effects "Carrie" (1976), "the Fury" (1978) "Scarface" (1983) without mentioning his borrowings from Hitchcock. Here, in "Dressed to Kill", it's impossible not to think of "Vertigo" (1958) for the long sequence in the museum while the key moment in the lift makes inevitably think of the shower anthology sequence in "Psycho" (1960). About our involved film, I don't want to revive the old debate: does De Palma rip off Hitchcock? Instead, i would tend to be generous and to classify "Dressed to Kill" in the category of De Palma's winners alongside "Sisters" (1973) and "Obssession" (1976). With however some reservations and they're the ones I previously enumerated which fuel the bickering between De Palma's rabid fans and his detractors.

If there's one sure thing in "Dressed to Kill" which can generate general agreement among film-lovers, it's De Palma's virtuosity in directing. He wields his camera just like a filmmaker expert is supposed to do. His sophisticated camera work brilliantly fuels the suspense which entails a rise of the tension and a discomforting aura. The audience is easily glued in front of the screen. This is helped by the use of several long silent sequences during which everything depends on looks and gestures. By the way, in "Psycho", there were also long silent, suspenseful parts...

But the main drawback in De Palma's 1980 vintage is that the quality of the plot can't be found wanting and appears to be a rehash of many formulaic, corny ingredients pertaining to an incalculable number of murder stories. The prostitute is the sole witness of the crime. Then, she's suspected by the police and has to act on her own (with a little help from the victim's son from the scene in the subway onwards)) to track down the murderer and to prove her innocence. Apart from the fact that De Palma uses a type of character who for once isn't demeaned at all, it's a menu which smells the reheated. And the filmmaker ends his film on a sequence that echoes to the opening one. Yes, it's superbly filmed but when one discovers its real function, one figures: "it's almost gratuitous filler". Perhaps De Palma wanted to stretch his film beyond one hour and a half when at this time the viewer knows (and even before) who the killer is.

The two central mainsprings in De Palma's set of themes articulate hinges on manipulation and voyeurism. The latter theme is well present in "Dressed to Kill" from the first scene onwards which makes the film almost look like a soft porn movie. And the filmmaker isn't afraid to film his main actress and wife Nancy Allen in her underwear. I find his approach about this theme rather doubtful. But maybe the first sequence was conceived to be a mirror of the viewer and De Palma wanted to stir his peeping tom side.

I don't want to demean at all De Palma's work. His prestigious work in directing which entails a communicative treat to film redeems the global weakness of the story and its doubtful aspects. Twenty six years after, the controversy he aroused amid movie-goers isn't ready to subside.