Brian De Palma’s ‘stab’ at a Hitchcockian thriller
Read film reviews and you’ll encounter plenty of instances of comparative shorthands. Lynchian, Kubrickian, Gilliam-esque. While sometimes a cheap and over-simplified descriptor, it’s often a pretty apt way to frame a film and how a filmmaker is often drawing from, or paying homage to one of their peers. As it is with Brian De Palma’s Sisters, a film that feels positively Hitchcockian, and one now given an updated restoration for the Criterion collection.
Synopsis:
Margot Kidder is Danielle, a beautiful model separated from her Siamese twin, Dominique. When a hotshot reporter (Jennifer Salt) suspects Dominique of a brutal murder, she becomes dangerously ensnared in the sisters’ insidious sibling bond. A scary and stylish dissection of female crisis, Brian De Palma’s first foray into horror voyeurism is a stunning amalgam of split-screen effects, bloody birthday cakes, and a chilling score by frequent Alfred Hitchcock collaborator Bernard Herrmann.
Sisters kicks off as a something of a crime procedural, as reporter Grace Collier (Jennifer Salt, Midnight Cowboy) witnesses her neighbor Danielle seemingly murder a man she has in her apartment. The police who respond to her emergency call fail to find any proof of a crime, much to Collier’s frustration. She enlists the help of a private detective, determined to prove what she saw. While this mystery is what kicks off the film, its real focus is on the mystery around, and relationship between, the twin sisters Danielle and Dominique. There is deep trauma, and as the investigation presses on, Danielle’s already delicate mind is push beyond its limits, resulting in some disturbing revelations.
There’s a twist to the tale that might feel familiar to some, but still packs a punch today, largely thanks to De Palma’s delivery. The Hitchcock vibes are readily apparent, De Palma cherry picking elements from Psycho, Rear Window, and Rope, not to mention some of his use of the camera and characters to imbue the affair with misdirection and voyeuristic feel. The overall tone enhanced by a unnerving score from Bernard Herrmann (North by Northwest, Taxi Driver). In terms of thematic content, the film would be more aptly paired in a double bill with Cronenberg’s Dead Ringers. A dark, unsettling journey into the psyche of twins, their bonds, and how dependency and separation can bring about deep trauma. Themes tinged with familiar De Palma seediness, humor, cutting satire, violence, and reverence for cinema.
If your go to reference for Margot Kidder is the Superman series, boy is your mind about to be blown. The actress, bringing to life both Dominique and Danielle, shows her exceptional range. One is a possessive, intense, aggressive being, while the latter is a coy, considered, and altogether more tender soul. While the film is focused on this duality of its two lead characters, it doesn’t delve too deeply into Danielle and Dominique, at least not in a overly scripted sense, but there is a tone and quality to the film that unsettles, immersing you into the head-space, efficiently fleshing out the relationship between these twins. They’re not presented as two dueling characters (as they so often are), De Palma doing more to show the relationship and issues between these twins by focusing on them as individuals. It feeds into the themes of twins being a whole split in two, and the psychological breaks we can all experience. A fracturing within, personalities that break into aspects of ourselves that can be amplified by our needs, events, or even trauma. The loss of a part of ones own self can be devastating and while the body may continue, but the mind may not recover from such a loss, going to desperate lengths to survive.
The Package
This Criterion release brings a new 4K transfer of Sisters, one supervised by De Palma himself. Detail is superb, a crisp image with nice levels of texture and depth apparent. Colors are very impressive, with deep, deep blacks and reddy hues popping nicely. It’s clean, but not overly processed, with a nice grain gives the film a rather seedy veneer that shows up very well here. Some scenes look heavier on the grain but this is likely due to the source film stock used during filming. As you’d expect from Criterion, bonus features are decent, if a little lacking compared to other releases from the brand:
- New interview with actor Jennifer Salt: The actress talks in depth about her relationship with De Palma and Margot Kidder, notably their collaboration, improv work, and the tone of the film.
- Interviews from 2004 with De Palma, actors Bill Finley and Charles Durning, editor Paul Hirsch, and producer Edward R. Pressman: A rather general look at how the film came together and was made. There are some nice insights concerning De Palma’s approach, including his camera/split-screen work and the film’s finale.
- Audio from a 1973 discussion with De Palma at the American Film Institute: Audio only, but it can be played over the film itself. It’s always a pleasure to hear the director share his thoughts and this instance is no different.
- Appearance from 1970 by actor Margot Kidder on The Dick Cavett Show: An effective reminder as to the charms of the actress.
- Photo gallery and radio spots
- PLUS: An essay by critic Carrie Rickey, excerpts from a 1973 interview with De Palma on the making of the film, and a 1973 article by the director on working with composer Bernard Herrmann: A nicely produced liner booklet containing the above, as well as details on the film’s new transfer and restoration.
The Bottom Line
Sisters is one of those thrillers that pays tribute to Hitchcock, but one where De Palma manages to stamp his own distinct style on proceedings. A taut, seedy, voyeuristic affair, that tells of these twins, the bonds between them. and external forces that threaten them. While a good example of De Palma’s output, it’s an exceptional piece for showing the talents of Margot Kidder. Criterion offers a superb transfer of the film with a solid set of extras.
Sisters is available via Criterion from October 23rd, 2018.