Sei sulla pagina 1di 15
Composed by PINO DONAGGIO 1984'S BODY DOUBLE WAS DIRECTOR BRIAN DE PALMA’S ATTEMPT TO Ue Re lee eureee Serr Mua MS emcee eed ome MMe Meh ee ei eee ue sc DAML Sein a eae sem ae (Craig Wasson) losing a part in a vampire film due to his claustrophobia. To add insult to injury, Pe Oe u cM ucie lige niet kec in enmer scott eet Fett him, putting Scully out on the street and out of a job at the same time. PEE MEN tere mens Reeser arcu cl cote meges hg CUM eee RR cece meee Mee Reel paare | Hills, The arrangement comes with fringe benefits, as Bouchard shows Scully a telescope in the house that’s pointed at an apartment complex where wealthy, exhibitionistic Gloria Revelle eer Ee kere RM el Rem mn en vmcce uLe Deena ea eee men Mace: ek MiG Reser) etd Peed ecu het ere h eee ate eae GC Rien ese sae nce ee UM ACME UC MCCUE Ce feces eer caa) ESM ace cee RMU Le os SM Regen etLatoe ule) POP UO OM ERE MCR E ptr gm kore) seme ene Mee Mere ene bd SUR aR UR mal EMC unre eRe ae coe eae mca Cue Re RMS Mek ACen ei Re Sc LL Re UL ce mL Lo Porter aire rena cB A devastated Scully is questioned by police, but there appear to be no answers to Gloria's De cae Ome Nae ee ecole a aC eR oa cea ee SL RCL UAL eee aha oe ReMi eon etc ek emir a Soren Nol entitle nit cd ea Re Rm a eM Sec eee cate nT ae ey double for Angie Dickinson in Dressed To Kill. While researching the film, the director met with real pornographic actresses and decided to cast one of them in the role of Holly, with the CURE cece ee UR Ce ae Re eto Like many Hollywood movies promoted with the idea of a groundbreaking presentation of ‘sexuality, Body Double couldn't possibly live up to its expectations. Between studio opposition ete eae et Mere ms TL ee cece ee LC CM Lee Uae LL aeCeL tL film actress, De Palma was forced to return to more conventional ideas and wound up casting Ere U ne] Lee te mee Mele ee MMU een OMIT Rem ell Body Double is driven by De Palma’s psychasexual concepts (he’s said that many of the ideas for the film, including the claustrophobia that stems from a childhood incident of Scully's, were autobiographical), his eye for locations (the climactic reservoir cascade and the well-known: Ree sat mina gel enh sO Run sue Mites sss hae at es PredeotimReces ite cet mele as ihe eee a eee tees in—spoiler alert!—his secret identity as “the Indian” —a hulking figure with dark sunglasses, a thick Pelco ar ie Riise ai) Pee es in imcaceaie ss as the Indian (contrasted with his eT NMR Se CeiciieI ete eat ae elt Cr ee eMC ery) mei oe Det ae Shen aese i remed a beach chase on foot leading into ee roe pec gets mee er eats Reece amnion steiner} ere eer MS cel Reet hisen tues pt ea teea vet ine] Pod aeyeee a ioe Ree Saeco NEE ee) EC RUC en mL Le LL a PEO RW nue Reat te ee Rute er ese elem a Ce ee Rn kee en RRM ee mee De Palma discovered in preview screenings that Scully’s more sexually graphic voyeurism of Gloria caused unwanted audience laughter during the beach love scene. Body Double was mercilessly targeted by critics for De Palma’s perceived misogyny, but it has gone on to become PRRs cece tesla Teese a Se Me Te et meme e ete) Bia italian composer Pino Donaggio. Since his first English-language film, Nichalas Roeg’s Don’t Look OA eae Oh WM eM em cn uc oui me an Cte cote uM See a a ce es REL striking lyric romanticism made highly distinctive contributions. De Palma has always made his films Cer ee ete ese em a cs his supemnatural thriller Carrie but found Donaggio instead when Herrmann died after completing Taxi Driver, Donaggio gave Carrie both a fragility and a contemporary sound, and he wrote a tour- de-force score for De Palma's Dressed To Kill, with a lush romantic title cue that made De Palma’s sequence of an overheated Angie Dickinson pleasuring herself in a shower seem classy. lair ca i Lease BODY DOUBLE PROVIDES A FIELD DAY FOR DONAGGIO, OPENING WITH A smashing horror movie pastiche for scenes of Scully shooting a vampire movie, while laying the OL am Re Me Seca UC RL suc Mute sete Mem ame Uae ea Maney lege aM crc coe Sn mae Re te nm Ie Re aes Dee see to more prosaic visuals, providing an equally thunderous horrorstyle sting to the sight of Scully's girlfriend in bed with another man (“Bad Girl”) or crowds piling into a glass elevator and initiating an attack of claustrophobia for Scully (“Elevator Claustrophobia”). Dene Meer recs teea cera R aster ait eta enn His opening title ("I's A Chance”) is a mellow, hopeful melody for strings and piano, and the aftermath of Scully's breakup is tenderly scored for high-range strings (“Loneliness”) ina manner Pet a UE se LE aed re ee oak Re ci wea coe ue ete ete ep ec} Pe RT aC MeL Om eRe Mec CMe cS ees aT Ceres oy Pe CC Mme ee Cau maT ee east sete sa en CM aC CM ecm mca eee rele Mee eee Ce MU Tn el ete kod Tree nna Tu eee Mam ae ice ers e orMmcutne ke tetanus reload cued er MMP aL eRe Comet imran Ciecrin mas tei cat(e ST eet Wee A col ol CY ea Cece a ere rte oe nr showcase the electronica and synthetic percussion of the CM cm a ae) aT Claes econ ene Tid Geese a eT Cis em ULC Lecce ec Cen emirate tured) Elma) eimai mere| RSIC) Pomerat ie meu ac emote sn tenure teen oir ace) RTM an atte eM mince) a number af later sequences that focus on — Scully’s Cea n eles a In fact, as Gloria points out, while Scully is concemed about her safety because of the eT eer Rm CE a are a MR Cli mele meee Om Uy ee Eee ua ae osteo ance ton cua ae Lanter cenit) Semen Cae Rel R UC eRe ee eee emt eel te Dae Lemos ee en ole Mec een ROM et cee Sua octet RU MCL a Cn Mee UICC RUE TMT occec-ca lat Nes Dy ke ee ee Re eee eee ate er eet a SCN ena oe CM acc Neel Ma eames Aer ere tt tenure ‘There Scully surreptitiously watches Gloria try on a new pair of panties, while Donaggio’s score Pee ETUC os mcm Men Enna ceel| pitele ca on Gloria, becomes increasingly urgent and rhapsodic. Donaggio’s silky strings continue in the nme caer ee mat eel om Relies Meccan Nae eee eRe UI URC ean en mer tn Caneel ein ean ect Cicer Scena ne kee mare tel eee ss Rees ey crs low pulsating synthe: Donaggio provides a wildly romantic mix of keyboard synths and strings for the “Reckless Love” clinch, but the mood switches back to action for the kinetic “The Big Drill.” Another quite eT DME knee cren Mano mM Ue oe Res Ar uel ieee suspense from horns and strings as vayeur Scully sights the Indian preparing to break into Gloria's eatin oa Eee Ue ees om RUD RU TU enon eee enero cat tet Teco Sree Meer Meret ere eyes nn mPa cnc Se ante ene a eee ee un a setee ra PEMA ee Oe Ca alae eat Cel remo rMe Pein eee MCS ea SLC aa ALS DTC eee Cece uses a source approach for much of the remainder of the film, indicating by the absence of DN RCM eR eeu Lean cameo ees Oa ee ae e| Bue c CeCe ele LL OM RL SLL esa AL eMC Rte Cela reds Mame renre Loreen en ns cena DoS UE ese eee RUN ce eee Seu Rene ec ie een ee ee een COME Ome Teles MMO CSDM OOm tiation ae ema a MU et At Sa Cer TOM ec Re sce em Leer Merce cin Beet Coe ORCS ce eRe Ted or synthesizer, giving a great feeling of variety to his work. UMC sees Belt eee eee RRL OBA meee ence) cece Se eC ee ere Carte ameC CMe ceme eaeg| Ua eee ee Rec e Ue e aeCoe ic oem end Sd See Le Ute SMCS Rem USES La LRSM Cee mest mate omit a eet cemst ca momen he CMT MA el Peer ccc OO aL MC CPR aa a ee ee ae eC MM CUM aL Cae a ee Mae T TT Uae me eC a Memes Ca COM Mc enc ood Re rceteen nem ee aren Se 7 Jeff Bond is edltorin-chief of Geek Monthly, a regular contvibutor to The Hollywood Reporter, and has writen Ge ee ee eee eR ae ka ae ee ‘cover music, movies and television in Los Angeles to support his tay callecting habit. De eed Sea acs Columbia Pictures oer aetely eect cite t Sy Paul Shure enya Rees poe td Pods Rs Sone Stuart Canin Orcas Perens Cees ed Peay Patera) Richard Greene oe Pee ee) pe ocd RU Cu ead een) PM) DCL uy econ Sea ere ete Sed Dee eue LE Daniel Shindaryov Pe Jennifer Small ‘Marshall Sosson ee as Gerald Vinci Drag Norn) Da Pee Cen Pamela Goldsmith ne a Pea ey Pe ence eed oat) fo Peed oe ece sag foe eee ceed eet eenicd Pees Ee sa ea etd Sd Renny eet) Re oe Cae Reena Louise DiTullio ee ae Pee aor] Seed’ Do Bed HARP Catherine Gotthotfer Pau cee slid Mee a ad Cre te ted Henry Sigismonti ic Aun es ae ony Seba fetes Peery Cero Chauncey Welsch Ces DCA I PIANO Le Peay KEYBOARD PR ay Richard Gibbs Peete Cece Pe Sas) oy INTRADA SPECIAL COLLECTION | Volume 86 Cori PINO DONAGGIO- Comey NATALE MASSARA Ceo Pred eer ee a eee Reet tieerte| ee eee eee ee ee eee een Partoememiet os Petes Peet ne ran areas ast aces se Pee i or eter neaters etc tee Aes ELL aerE lel a1anod Agog Feta? it 37g PATS AU ae Ue Peg PE Tee a Me LUTTE Mesa TST Ree ee ea met aC ee ecg Uy ‘Alba Pradoced ty DOUGLASS FAKE Score published by EM Golden Torch Manic Corp (ASCAP. Renee ee ee eee eet eer a ee Een el eee er pe eee emt eet tet reece ee a ea oe ee ? Ba CU Pacer Peottcaron) crete ary SLs Deed Cee ee nd Ce ed eee eC een id eae eee een Ce ees ee ee) Deere ees Ree een ence Beene ees aa ee PINO DONAGGIO