Passion

Hard to believe Brian dePalma has sunk this low. The film is boring, dreadfully scripted, and looks like a long perfume commercial. Real people just don't dress and look like this; DePalma seemed to be heading toward this stylized, air-brushed Playboy magazine look when he made "Dressed to Kill," and it's gotten progressively worse with each film, except "The Untouchables." "Passion's" script starts out to be about two female executives vying for the same account, and then goes off in five different directions. He toys with gratuitous lesbianism in some segments, which might have been bold and sexy in the 70's and 80's, but now just comes off looking dated and embarrassing. The film's 100 minutes could easily have been pared down to 20 and it would have been more interesting and less ponderous. A real disappointment.

What was that, anyway? An exhilarating suspense carried with style but lacking in content or an intriguing whodunit that seems to live and breathe with sensuality but it's just a giant tease to cause some stir in the audience? De Palma's awaited return "Passion" has him returning to his days of "Dressed to Kill" and "Sisters" with a touch of "Basic Instinct" (this one directed by Paul Verhoeven) but failing in all accounts to look like any of those. Not only the man is out of ideas by remaking this (the original is a French film), he's also completely lost and confuse and the latter spread fast among us viewers so accustomed to see him completely in charge of what's he doing, always referencing the master of suspense and trying some innovations.

It doesn't go all the way down. There's admirable qualities in the story that involves jealousy, possession, lust, ambition, murder, mystery and other associated matters. In an advertising agency, the ultimate power comes from Christine Stanford, a hateful shrew (Rachel McAdams, brilliant) who is deeply admired by her dedicated protégée Isabelle (Noomi Rapace), who does anything to earn her respect by coming up with great ideas to promote the company and the clients' products. The ideas work, she's heading to be promoted but the boss takes up further and gets the credit for the idea. There's misunderstanding, outrageous acts by both sides of the issue, tense work environment and then tragedy takes place with a lousy investigation on course. And who killed Christine?

We're told that this is a story about passion. But it's more about intrigue, manipulation and domination than just desire. There's something going on between assistant and chief but we don't know exactly what. The first seems to be fascinated with the woman of power and action while the second is just using of all possible ways to get her things done, to explore everyone around her but ultimately is someone with some small weaknesses. Like "Basic Instict" it goes with the premise everyone's bisexual in a way. Or perhaps, they just "shift" of preference to follow their goals (as evidenced, Isabelle has an affair with Dirk, Christine's boyfriend). And that's where De Palma's movie deserved more outcry from the LGBT community than all of what Verhoeven's movie got. Not just because of that, but specially the way all the female characters are treated (and we have to include Isabelle's assistant, played by Karoline Herfurth). They're presented as manipulative, insensitive, mean spirited among other things, people who'll do anything to succeed, and here comes the sad example of the movie, weakened due to what they are in their sexual nature, represented on a tasteless scene where Christine schemes to fire Isabelle's aide on the grounds of being harassed by her. But those protests are pointless, the best one can do is really bad-mouth the movie.

"Passion" is not a bad movie, it just makes a lot of wrong turns on the way that it looks bad. The script when it comes to give us realistic elements (such as the work routines both the agency and the police, second half of the film) is a completely mess using of unbelievable situations, inauthentic reactions and behavior, very ridiculous at times. The weakest part was the public humiliation suffered by Isabelle. Since the idea is to come up with unbelievable situations, she should have pulled the George Costanza card ("Oh yeah? And I've had sex with your boyfriend!") as a way to get revenge from her boss rather than laugh hysterically sounding like a sick hyena. And if those "real" moments don't work how come they expect us to buy the cinematic and definitely illogical moments, like the mystery, the crimes, the plot twist? And we cringe to the dialog, cheap and absurdly spoken for most of the time.

But De Palma isn't completely lost and insecure. He creates some wonderful moments, most notably the Hitchcockian climax but using of a modernity element to built tension. Let's face it, he creates some interest and we follow along. Yet he insists in dividing the screen pretending he's serious about focusing simultaneous actions at the same time, technique he explored better in other movies and here is just dull. Call me nuts but I see more quality in "The Bonfire of the Vanities" than in this thing. OK, I'm a little biased because I love that movie despite its flaws. But still.

And I couldn't forget to mention how deceitful this picture is. De Palma is a master in involving us with seductive women, gorgeous femme fatales, sexy creatures who demand our attention and the main characters. However, Rapace, McAdams and Herfurth although beautiful they don't share that magnetic and powerful quality which Melanie Griffith had in "Body Double" or Michelle Pfeiffer in "Scarface". They were sexy and friendly yet they meant trouble. Here, the characters pretend to be too innocent or trouble is already exposed on their faces.

"Passion" lacks of sensuality, eroticism and excitement; its only advantage is to be a little more bold in the kissing department. In the end it's just a minor suspense, almost embarrassing considering who's involved and it's time for him to move on to another direction, trade of genre once and for all. It generates interest, a little entertaining but nothing we can be passionate about. 6/10

Saw this one at the Toronto International Film Festival, it's a cross between a late night made for cable movie and a European art film. The cinematography is great, lots of inventive shots. Actually, nearly every shot is a winner. The musical score can

Rachel McAdams and Noomi Rapace ham it up as back stabbing mind f*cking executives. They have great chemistry and as the plot twists along we are never quite sure who to root for. Rachel McAdams' Christine basically plays a grown up version of Regina George from Mean Girls.

None of it is meant to be taken too seriously. The Anyone who liked Basic Instinct, Fatal Attraction or De Palma's own Dressed to Kill will be into this movie.

I had grown disappointed with Brian DePalma throughout the 1990s and 2000s. The man who gave us "Phantom of the Paradise", "Carrie", "Dressed to Kill", "Scarface" and "Carlito's Way"* suddenly turned to overblown stuff like "Mission: Impossible", "Snake Eyes" and "The Black Dahlia". So it's a little bit of a treat to see "Passion". It's not as good as his early work, but the tension between the main characters is definitely what I hope for in one of his movies. In fact, DePalma tricks the audience by getting them to think that it's a clash-of-egos story...before the real plot line sets in. Far from her perky roles in previous movies, Rachel McAdams plays a scary executive. The viewer practically wishes for Noomi Rapace's character to do something nasty.

Basically, "Passion" has a hint of what usually made DePalma's movies good. It's probably not going to be for everyone, but I liked it.

*For the record, I didn't think that "Bonfire of the Vanities" was that bad.

This is just an OK film which means it's a bit disappointing from a director who has a reputation. It works as a - not very thrilling - thriller, and Noomi Rapace does a good performance. Plus the film delivers some intense scenes and good photography in front of very cool, emotionally empty sets.

What doesn't work so good: It starts as a kind of 21st century version of an 80s erotic thriller, but never gets erotic. In fact, the title is ridiculous, because it never even gets passionate - everybody tries to be in control and nothing happens instinctively or out of reflex. (The slow, controlled ballet sequence strengthens this impression). Also, Rachel McAdams is good at bitchy, but I couldn't believe in her as a tough enterprise lady. And finally, the twist, when it finally came, was exactly what was hinted at ...