Dressed to Kill (1980)

When Kate sees Dr. Elliott (Michael Caine, Pulp), she confesses to him that her sex life is hugely disappointing. She wants more but does not know how to tell her husband. When Dr. Elliott encourages her to be brave and talk to him, she asks if he ever wanted to make love to her.

Not long after her session with Dr. Elliott, Kate visits the Museum of Modern Art. While taking notes, an attractive man (Ken Baker) sits next to her. She drops her glove, he picks it up, and later on the two make love in a taxicab while the driver watches. They finish what they have started in his apartment. Before she leaves, Kate discovers that the man has a venereal disease. In the building's elevator, a blond woman wearing dark sunglasses cuts her throat with a razor. The murder is witnessed by Liz (Nancy Allen, Blow Out, 1941), a beautiful prostitute, who has been entertaining a client from Cleveland.

In the days that follow, Liz is questioned by detective Marino (Dennis Franz, Body Double) who warns her that she is his prime suspect and in a couple of days will end up behind bars – unless she helps him track down the blond woman with the dark sunglasses. Liz is also approached by Kate's son, Peter (Keith Gordon, The Legend of Billie Jean), who has been working on an exciting new device for the city's upcoming science championship.

Hitchcock's influence can easily be felt but the film most definitely has an identity of its own. Its attitude towards sex, in particular, gives it an edge that no other mainstream American film from the early '80s has.

Brian De Palma's direction is flawless. The film flows, never stumbling or overwhelming with an attitude. There is sleaze and there is gore but they are perfectly mixed, effectively adding to the tense atmosphere not detracting from it. Each sequence is expertly shot – the camera moves and the manner in which shadow, light and color are utilized ought to be studied by aspiring young directors.

De Palma's script is also first-class. Virtually all of the exchanges between the actors are full of incredibly sharp lines. When they remain silent, the camera carefully studies their faces or spends time observing objects that would reveal what the viewer needs to know about them. There is absolutely no fluff.

The film has many stars, but Dickinson impresses the most. What she manages to accomplish for the short period of time she is in front of the camera is quite remarkable. The museum sequence, in particular, where she follows the man is truly amongst the best of its kind. Allen and Caine are also outstanding in their respective roles. Franz, still looking very young and slim, is absolutely hilarious as the cocky detective.MS-CC

Dressed to Kill was lensed by cinematographer Ralf D. Bode (John Badham's Saturday Night Fever, Jack Fisk's Violets are Blue…). The film's soundtrack is by long-time De Palma collaborator Pino Donaggio (Carrie, Blow Out, Body Double).