Preamble

Despite turning 50 this year and spawning a series of versions (including a recent Mike Flanagan’s TV series adaptation), I’ve not spoken about Carrie on the blog. This seems like a bit of an egregious oversight. But I hope to remedy that with the Brian De Palma film getting the one great shot treatment. What’s your favourite shot from Carrie? Let me know in the comments below.

One Great Shot

Brian De Palma’s Carrie is a richly appealing film. The unsaid terror and taboo sensuality are felt through the filmmaking. The use of split screen in the tail end illustrates Chris Hargensen’s pig blood prank as a form of sexual gratification for the young woman. The low-angle shots partway through elevate Carrie’s mother (Margaret White) from an operatic mother to a supernatural tormentor who could grace the pages of a Gothic fairy tale.

However, my favourite shot of the film comes during the prom sequence, namely when Carrie and Tommy are dancing together. In part, it’s quite bold and audacious, as the film subverts its previous use of low-angle shots. At the same time, it spins the camera in an almost dizzying manner whilst having quite a bit of dialogue between Carrie and Tommy.

The scene is quite effective in showing how carefree youth can be and how we can get so caught up in a moment that time itself feels like its stopping. It’s also an excellent illustration of growing up from childhood to adolescence. The camera move itself is akin to a child running around in circles (in an almost curious way). However, the dialogue is about feeling the first burst of what romance feels like and how all consuming it can feel.

As much as De Palma’s use of slow-motion represents Carrie’s best moment in life, via being accepted as prom queen, this moment is certainly up there as the character comes to realise that someone wanted to spend time with her.