I watched "Love Crime" about two years ago and I agree with most critics that it is the film version of "Damages." I just finished watching "Passion" (French bluray version) and....wow. What DePalma has done is not reinvent the wheel, but taken what he knows and meshed it with a well received French film from 2010. After all, his formula, dating back to "Carrie" has always worked for him. And in "Passion", he is back in all of his bloody glory.
Isabel has an amicable relationship with her boss, Christine. Both work at a large corporate public relations firm in Germany. Christine has her eye on the cushy executive job in New York, but poor poor Isabel does all of the work that Christine passes off as her own. She reassures Isabel that taking credit for her work is all part of the business. But as the film plays out, we start to see that Christine is manipulative, conniving, and though she explains that her actions are all part of the job, there is always an angle for her. And Isabel buys into what Christine tells her- at least you are led to believe she does. Or is she even MORE manipulative than Christine? You will have to watch the movie to find out.
Isabel gets frustrated by being pushed down and finally goes over Christine's head by releasing a new smartphone advertisement she developed onto YouTube before Christine comes out with her own version. Needless to say, the claws come out shortly thereafter and Christine takes to humiliating Isabel, and engaging in destructive conduct to have her fired. But then a twist comes, and someone dies. Horribly. Who did it. Again, you will have to watch to find out. Because even if you have seen "Love Crime", you might have your doubts while watching it.
DePalma proves to be the master of the erotic thriller once again. Not since "Femme Fatale" have we seen his return to the modern murder mystery/thriller. Basically, what you have in "Passion" is a shot for shot retelling of "Love Crime" with some minor changes and a classic DePalma ending accompanied by Pino Donagio's "Dressed to Kill" score blaring, with actions speaking for the characters instead of words. Minor changes have been made, and for the better. The ending is a twist where as in "Love Crime" the killer is immediately revealed. The subplot with Isabel's sister has been taken out and further developed into Isabel's assistant's character, who is now a woman, and love-struck, too. And there are two entirely new subplots that work to support the ending of the film, and let's just say that DePalma's "Sisters", where he started his career in this genre back in 1973, is in full effect towards the end.
DePalma does something here that I absolutely think works for him: he combines all of his major successes in film of the past 40 years into the climax. Remember what I said about not reinventing the wheel? Well not to spoil it for you, but think "Sisters" meets "Raising Cain" meets "Dressed to Kill" meets "Body Double" meets "Blow Out" by the end of this. Yes, all of the nastiest bits of violence, dreams within dreams, doppelgangers, asphyxiation, voyeurism, and maybe a little borrowing from the Wachowski's movie "Bound." But just a little ;)
This movie is DePalma's life work rolled into one. His fans will be happy to know that DePalma is back, and better than ever.
Isabel has an amicable relationship with her boss, Christine. Both work at a large corporate public relations firm in Germany. Christine has her eye on the cushy executive job in New York, but poor poor Isabel does all of the work that Christine passes off as her own. She reassures Isabel that taking credit for her work is all part of the business. But as the film plays out, we start to see that Christine is manipulative, conniving, and though she explains that her actions are all part of the job, there is always an angle for her. And Isabel buys into what Christine tells her- at least you are led to believe she does. Or is she even MORE manipulative than Christine? You will have to watch the movie to find out.
Isabel gets frustrated by being pushed down and finally goes over Christine's head by releasing a new smartphone advertisement she developed onto YouTube before Christine comes out with her own version. Needless to say, the claws come out shortly thereafter and Christine takes to humiliating Isabel, and engaging in destructive conduct to have her fired. But then a twist comes, and someone dies. Horribly. Who did it. Again, you will have to watch to find out. Because even if you have seen "Love Crime", you might have your doubts while watching it.
DePalma proves to be the master of the erotic thriller once again. Not since "Femme Fatale" have we seen his return to the modern murder mystery/thriller. Basically, what you have in "Passion" is a shot for shot retelling of "Love Crime" with some minor changes and a classic DePalma ending accompanied by Pino Donagio's "Dressed to Kill" score blaring, with actions speaking for the characters instead of words. Minor changes have been made, and for the better. The ending is a twist where as in "Love Crime" the killer is immediately revealed. The subplot with Isabel's sister has been taken out and further developed into Isabel's assistant's character, who is now a woman, and love-struck, too. And there are two entirely new subplots that work to support the ending of the film, and let's just say that DePalma's "Sisters", where he started his career in this genre back in 1973, is in full effect towards the end.
DePalma does something here that I absolutely think works for him: he combines all of his major successes in film of the past 40 years into the climax. Remember what I said about not reinventing the wheel? Well not to spoil it for you, but think "Sisters" meets "Raising Cain" meets "Dressed to Kill" meets "Body Double" meets "Blow Out" by the end of this. Yes, all of the nastiest bits of violence, dreams within dreams, doppelgangers, asphyxiation, voyeurism, and maybe a little borrowing from the Wachowski's movie "Bound." But just a little ;)
This movie is DePalma's life work rolled into one. His fans will be happy to know that DePalma is back, and better than ever.