Syracuse Herald-Journal
November 19, 1976
November 19, 1976
Cynically contrived to ensnare the 13 to 20 age group, "Carrie" makes more disappointing film fare as the second Brian de Palma movie this year that reeks of commercialism.
With one lone exception, the director exhibits none of the bizarre filmmaking that had become his hallmark prior to this summer's "Obsession." Again, as in the earlier film, he utilizes much soft focus which creates a special atmosphere suitable in some places but not as wise for "Carrie" as it was for "Obsession."
Incredibly naive for a 14-year-old, Carrie's innocence is abused by her fellow students in the girls' locker room. When their reprimand seems excessive, one girl leads a revenge plot, aided by her dumb boyfriend.
But Carrie for all her sheltered life with a sexually-neurotic, evangelistic mother, is not without personal resources. It's mind over matter— telekinesis that slams doors shut, shatters glass and eventually kills.
The motion picture is cynical from the start in its casting of tv teen idol John Travolta( Barbarino on Welcome Back, Kotter). However, de Palma does resist the urge to make him the football hero and casts him instead as the animal-like boyfriend of the sexpot who leads the plot. She seduces him into joining the literal blood bath.
Pale, wispy Sissy Spacek is leaned on heavily to evoke tugs at the heartstrings in the title role, and she does it well. Fortunately, William Katt's winning grin and direct personality mitigate some of the sugar coating of Miss Spacek as he plays the prince charming who finds himself enchanted with Carrie, despite dating her as a favor to his real girlfriend.
The finale contains one heartstopping moment that redeems the horror expert. It's better than the suspense at the end of "Obsession" and indicates de Palma hasn't wholly deserted his special milieu of the bizarre.
There also are winning performances from Piper Laurie, overcoming much of the handicap of the mother's role, Betty Buckley as the gym teacher who befriends the title character and disciplines her schoolmates and from Amy Irving as the one friend Carrie has.
Lawrence D. Cohen's screenplay must be accorded a major share of the cynicism of the product. If it is the best dePalma is being offered, the director must be pitied.—J.E.V.
With one lone exception, the director exhibits none of the bizarre filmmaking that had become his hallmark prior to this summer's "Obsession." Again, as in the earlier film, he utilizes much soft focus which creates a special atmosphere suitable in some places but not as wise for "Carrie" as it was for "Obsession."
Incredibly naive for a 14-year-old, Carrie's innocence is abused by her fellow students in the girls' locker room. When their reprimand seems excessive, one girl leads a revenge plot, aided by her dumb boyfriend.
But Carrie for all her sheltered life with a sexually-neurotic, evangelistic mother, is not without personal resources. It's mind over matter— telekinesis that slams doors shut, shatters glass and eventually kills.
The motion picture is cynical from the start in its casting of tv teen idol John Travolta( Barbarino on Welcome Back, Kotter). However, de Palma does resist the urge to make him the football hero and casts him instead as the animal-like boyfriend of the sexpot who leads the plot. She seduces him into joining the literal blood bath.
Pale, wispy Sissy Spacek is leaned on heavily to evoke tugs at the heartstrings in the title role, and she does it well. Fortunately, William Katt's winning grin and direct personality mitigate some of the sugar coating of Miss Spacek as he plays the prince charming who finds himself enchanted with Carrie, despite dating her as a favor to his real girlfriend.
The finale contains one heartstopping moment that redeems the horror expert. It's better than the suspense at the end of "Obsession" and indicates de Palma hasn't wholly deserted his special milieu of the bizarre.
There also are winning performances from Piper Laurie, overcoming much of the handicap of the mother's role, Betty Buckley as the gym teacher who befriends the title character and disciplines her schoolmates and from Amy Irving as the one friend Carrie has.
Lawrence D. Cohen's screenplay must be accorded a major share of the cynicism of the product. If it is the best dePalma is being offered, the director must be pitied.—J.E.V.
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