‘Body Double’ (1984) is ‘Vertigo’ meets ‘Rear Window’ (review)

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Brian De Palma’s 1984 neo-noir thriller “Body Double” exudes an undeniable Alfred Hitchcock influence. But where the De Palma-directed update differs is in its execution. Featuring a new wave soundtrack, slick visuals, and a keen self-awareness, it’s a taut, engaging romp.
Struggling actor Jake Scully (Craig Wasson) loses his role as the lead vampire in a low budget horror flick, only to return home to find his girlfriend Carol (Barabra Crampton) sleeping with another man. Since Scully was living with Carol, he’s out of a place to stay. However, at a method acting class, acquaintance Sam Bouchard (Gregg Henry) offers to let Jake crash at a home where he’s house sitting while Sam travels to a gig in Seattle.

Initially, the retro-modern abode seems perfect. There’s cable, a stocked bar, a rotating bed, and a sightly neighbor with an enticing evening dance routine. While Jake enjoys watching her through a telescope, he soon becomes ensnared in a sinister plot when it seems there’s intent on murdering his neighbor, Gloria Revelle (Deborah Shelton). This leads Scully into a sinister, seedy underworld of murder, deception, and the involvement of famous pornstar Holly Body (Melanie Griffith).

From the onset of “Body Double,” there’s a clear Hitchcockian vibe. Indeed, the plot mimics that of “Vertigo,” and the voyeurism elements align with “Rear Window.” Like 1958’s “Vertigo” protagonist Scottie Ferguson (James Stewart), Scully shuffles about as the unwitting witness and reluctant investigator, before emerging as a fervent detective in the third act, determined to unravel the mysterious whodunit. Similarly, Jake inserts himself into a possible crime from afar, much like the peeping tom L.B. Jefferies (also Stewart, a frequent Hitchcock collaborator). However, Jake’s voyeuristic tendencies are portrayed as decidedly more sinister, whereas Jefferies, despite spying on his neighbors, displays a moral compass of sorts.

Yet “Body Double” opts for an updated vibe. Its opening and closing segments feature a campy film-within-a-film, the low-budget horror movie “Vampire’s Kiss.” Pino Doaggio crafts a new wave soundtrack which varies from traditional noir numbers plucked almost straight from “Chinatown,” to plodding, contemporary synth-laden pieces. Stephen H. Burum provides slick cinematography keeps pace, and tone, with the film. From frenetic chase scenes to long panning shots, it marvelously transforms as the movie progresses.

However, certain elements prevent “Body Double” from truly excelling. It’s admittedly ham-fisted at times. A few scenes, in particular, are so completely over the top that I assumed incorrectly they were dream sequences. While the “Vampire’s Kiss” sequences present a delightfully silly self-awareness, “Body Double” ultimately falls prey to the goofiness it mocks. Namely, a ridiculous plot and gratuitous nudity. On top of that, it’s ridden with plot holes.
Nevertheless, “Body Double” manages to maintain a tense atmosphere despite tipping its hand far too early into the narrative. The modern-day Hitchcockian tale provides a fresh take on a familiar formula. Peppered throughout the story are iconic locations such as the Chemosphere, Tower Records, the LA Farmer’s Market, and Tail o’ the Pup. Clever viewers will note a Nostromo hat from “Alien” make a brief appearance. The film-within-a-film offers a comedic, meta subplot, and exquisite cinematography plus a gorgeous score round out an entertaining, albeit uneven, thriller.