By Adrian Luther Smith
The giallo bible. The definitive advisor to giallo motion pictures published through the folk in the back of The darkish aspect journal. nice reference for fanatics in addition to these new to the style.
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To see a fictional character express fear does not necessarily mean we share that emotional reaction. It is worth comparing this with an alternative opening scene that was shot but not used in the finished film. In this, the camera lingers over an unclothed woman (Stella Horan) who is rubbing herself (here with sun-lotion) and whose parted lips suggest an utter absorption in her own sexuality. However, a key difference, which might have gone some way to mitigating allegations of voyeuristic misogyny towards De Palma, is that this is Carrie’s gaze.
P. 23. 45. , p. xvi. 46. , p. xviii. 47. Ibid. See pp. 91–94, p. 110, and p. 138. 48. , p. xviii. 49. Ibid. See p. xii and p. xvii. 50. Stephen King in Frank Darabont, The Shawshank Redemption: The Shooting Script (New York: Newmarket Press, 1996), p. ix. 51. See Stephen King, On Writing (London: New English Library, 2000), p. 260 and Stephen King, ‘Rita Hayworth and the Darabont Redemption’– Introduction to Frank Darabont, The Shawshank Redemption: The Shooting Script, op. , p. xii. 52. Stephen King, On Writing, pp.
Some kind of bloodline with De Palma’s film is attempted in setting the narrative twenty years after the first film, in the same high school, with a protagonist, Rachel Lang (Emily Bergl), who discovers that she shares Carrie’s telekinetic gift. Partly to claim greater veracity to a source text, Amy Irving, one of Carrie’s tormentors in the original film, now plays the part of counsellor, Sue Snell, redeeming her, and the final confrontation between Carrie and her mother follows the scenario of the book more closely (as a second draft of the original film had done), with Carrie slowing down her heartbeat to a stop – alluding perhaps to Edgar Allan Poe’s short story, ‘Tell-Tale Heart’ (1843).
Blood & Black Lace by Adrian Luther Smith