Body Double (1984)
Director: Brian DePalma
Starring: Craig Wasson, Deborah Shelton, Melanie Griffith, Gregg Henry
Primary genre: Erotic
Secondary genre: Thriller
Brian DePalma has been always associated with voyeurism - this could be due to both the context of his movies (e.g., “Blow Out” (1981), “Femme Fatale” (2002)) and his directional approach (e.g., “The Untouchables“ (1987), “Carlito’s Way” (1993)) that sees the usage of long steadycam shots serving (usually as the POV of an individual) stalking/chasing others. It’s evident DePalma relates to being as close to his protagonists as possible using his camera to observe intensively cinematic characters through a variety of situations.
“Body Double” is not an exemption. In its initial release, people might have ignored its case in favor of voyeurism but in 2020s, things are radically different. The story is a pointless exercise in slick direction soaking up the glamorous lifestyle of the Hollywood hills and Los Angeles in general taking cues from Alfred Hitchcock’s superior work in “Rear Window” (1954) and “Vertigo“ (1958) (replace vertigo with claustrophobia). Voyeurism is being used as an excuse for a plot and at the hands of a nuanced screenwriter, the moral perspectives would have been fascinating to explore. De Palma though opts to superficial investigation of its uncomfortable subject and what did not work in 1984, definitely does not work now.
“I have a routine that’s a sure 10 on the peter meter.”
A case of murder and a thematic exploration of the Hollywood system and its adult industry can make for a compelling story but De Palma seems lost into what could propel his ideas forward; is it a flawed but relatable main lead, solving a violent crime or present a case against/for the adult industry? As such, the script veers into parody not too much dissimilar to what Paul Verhoeven did with this infamous “Showgirls” (1995). Any moments of eroticism are too OTT bearing a kitsch (and misogynistic) quality to them. Perhaps De Palma was aiming for that too.
Halfway through a segment featuring Frankie Goes to Hollywood’s “Relax” can be interpreted as a satire of the adult industry itself; whether it is a musical number within a movie or someone’s fantasy is still open to interpretation but it feels unnecessary for a film desperate to have a plot. The introduction of a stunning peroxide haired Melanie Griffith (in her break out role) without condemning her profession is an interesting turn but she is more of a plot point rather than an important player in the story’s evolution continuing the slippery slope of a flick which attempts in vain to find common ground between creator and viewer.
The noir atmosphere and its twists which can be seen from a mile away remain anemic presenting the proceedings through the movie’s biggest problem: an unlikeable protagonist. Famed critic Roger Ebert described positively Graig Wasson’s main character as a flawed man but the audience will have a tough time empathize with someone who stalks a woman and invades all of her spaces only to appear at the end as a savior due to his (twisted) affection; his interactions with Deborah Shelton are sure to cause the wrath of the second wave feminists for sure.
De Palma uses extremely disorienting shots when the claustrophobia attacks occur at a great effect demonstrating his unique voice back in the 80s and does manage to generate some suspense in certain moments but these do not have the impact you would think. Now if only this (erotic) homage to Hitchcock’s work (which is based entirely on De Palma’s idea) would have followed a richer thematic context, it could have been a real winner. Instead the lame lead that is tasked to solve the mystery despite becoming a sensationalist voyeur himself - a pill hard to swallow - makes incredible mistakes and thus, requiring a heavy suspension of disbelief. Critics today have been kinder to “Body Double” noting its (potentially) sharp edges towards Hollywood but it all depends on your perspective.
Dated Peeping Tom thriller
+DePalma’s direction
+Slick visual style
+Interesting concept
-In theory relatable protagonist
-...who remains unsympathetic
-Film justifies voyeuristic behavior
-Poor imitation of Hitchcock’s work
-Not enough Griffith
-Eroticism does not work