© 2016 by James Clark
Brian De Palma—a science prodigy and high school wunderkind—could, no doubt, have carved out a peppy career in some corner of what practitioners call “hard science.” At the doorway (in the form of Columbia University) of this generally considered to be fulfilling life, he turned away in favor of becoming a movie maker. Some might jump to the conclusion that he realized he didn’t have what it takes to pursue a “hard” endeavor. My guess is that he came to realize that science isn’t hard enough.
Whereas classical rational science is about managing the architecture of a brilliant intellectual past in order to discern growth potential which could up the ante of discovery, it also functions as a form of church which sustains taboos against regarding sentient entities as logically more cogent than aggregations of elemental particles. It is, I think, the matter of that hostility and coercion which induces, despite the many attractions of scientific research, the drastic turnaround into personas and their seemingly unacceptable, unpredictable actions. Exciting as dynamic scientific discoveries may be, even more exciting (to De Palma) are the truths and consequences of dynamic courage which only full-blown human sensibilities can discover.
The métier which De Palma has settled upon is not without its possibilities of profiting from the architecture of its own brilliant past. Much has been said about his being suffused with the work of Alfred Hitchcock. But that rather ordinary tip of the iceberg traces to Continental avant-gardists as suffused with the energies of the surreal, where humans count for much more (reality) than mathematical flecks. The sensual priorities of this repository entail a remarkable sense of embattlement with mainstream dictates. (In view of this disposition it is well to note that two distinguished colleagues of his generation, namely, Ridley Scott and Michael Mann, present close accompaniment to De Palma’s modus operandi. Mann is particularly significant in being [unusually, for this situation] explicit about his indebtedness to Jean-Pierre Melville—a preposterously underestimated giant—and his own formative years as a close associate with Surrealist jack-of-all-trades, Jean Cocteau.) (more…)