Regie:
Brian De PalmaDrehbuch:
Lawrence D. CohenKamera:
Mario TosiMusik:
Pino DonaggioBesetzung:
Sissy Spacek, Piper Laurie, Amy Irving, William Katt, Nancy Allen, John Travolta, P. J. Soles, Priscilla Pointer, Betty Buckley, Sydney Lassick (mehr)Streaming (5)
Inhalte(1)
Die weltfremde Schülerin Carrie wird von ihren Klassenkameraden gehänselt, als sie bei ihrer ersten Menstruation in Panik ausbricht. Auch zuhause hat sie bei ihrer religiös fanatischen Mutter keinen leichten Stand. Als Carrie auf dem Schulball öffentlich gedemütigt wird, richtet das telekinetisch begabte Mädchen ein schreckliches Blutbad an. (TELE 5)
(mehr)Kritiken (11)
Am Anfang des Phänomens namens Stephen King stand Carrie, das Buch sowie der Film. Die Geschichte ist genial einfach: Ein misshandeltes und gemobbtes High-School-Mädchen erlebt ein weiteres Lebenstrauma, als es in den Schulduschen ihre erste Periode entdeckt. Ihre Mitschülerinnen sind unglaublich grausam, ihre Mutter ist eine religiöse Fanatikerin und so ist Carries einzige Chance auf etwas Ruhe im Leben der Sportlehrerin. Diese kann zwar die Klasse effektiv bestrafen, aber die schlimmsten Mädchen denken sich trotzdem weitere Angriffe gegen Carrie aus... Carrie hilft die Telekinese und in der ersten Filmadaption vor allem die Kunst von Brian De Palma, der mit einfachen Mitteln wie Split-Screen und einer schlauen Arbeit mit Farbe und Musik eine großartige Atmosphäre schafft. De Palma kann sehr wirkungsvoll die extremen Emotionen von Jugendlichen erfassen, Momente des absoluten Glücks sowie einen totalen Terror. Carrie - Des Satans jüngste Tochter ist ein ausgezeichneter Film, natürlich ist es jedoch ausgesprochen geeignet, eigene Schulerfahrungen verarbeitet zu haben, um es richtig genießen zu können. ()
Das Ende ist anders und die Handlung wurde sehr reduziert. Trotzdem bleibt der Film der literarischen Vorlage nichts schuldig. Brian de Palma ist toll und die Art und Weise, wie er die Ballszene aufgenommen hat, hat mir den Atem verschlagen. In seiner Carrie - Des Satans jüngste Tochter geht es nicht nur um einen Eimer Blut. Bei weitem nicht. Die Auseinandersetzung von Tochter und Mutter wird so fesselnd dargestellt und ist visuell so ausgefeilt, dass sie überhaupt nicht langweilig ist. Außerdem wird sie von Donaggios wunderschöner Musik begleitet. Und dass Sissy Spacek in der Hauptrolle einzigartig ist, brauche ich gar nicht zu erwähnen. ()
The first King’s film adaptation turned out to be quite good, great, in fact (which is something you can’t say about most adaptations of his books, but let’s be happy with the few good ones – and when the stars align, they can be great). For most of its runtime, Carrie is a drama rather than horror, but the tension escalates with every minute and and it keeps you expecting something unpleasant coming. The story is quite predictable (and it must have been so even in the 70s), but that’s well compensated by the psychology of the characters – the mother is especially good. PS: At least one and a half stars go to Sissy Spacek, she’s great in the role. ()
It’s not really a bad thing that I first watched the new Carrie and only then returned to the original that was created under the wings of a movie legend – Brian De Palma. That’s because the new Carrie only seemed decent before I watched the original. I had no clue just how original De Palma’s horror is. It’s perfect, considering when it was made. It barely mentions telekinesis only to showcase an array of brutal scenes at the end that every one of us has been waiting for. It’s really worth it. I’m taking one star away from the new Carrie just by default. When I realize that this movie is nearly 40 years old and it still has a lot to offer, I’m almost terrified to think what the youth of today, the target audience of the new version, would think about it. You’d hardly find as many original ideas as the original Carrie came up with in a modern horror movie. ()
Stephen King chilled me to the bone with how he drove Carrie towards her magnificent finale without any signs of emotion or understanding, only occasionally peeking into her thoughts and wrapping everything in almost documentary form. Brian De Palma and Lawrence D. Cohen do it exactly the opposite way. Carrie becomes a supernatural being who does not belong to the ruthless and cynical world around her. Her feelings, whether it's anger, astonishment, or joy, are the main driving force of the story, which thanks to its brilliant form, elevates the story almost to a message. The original and the adaptation are ultimately quite different, yet both won my favor easily. ()
I didn't read the book, but it launched Stephen King's career as a bestselling author, so I have no doubt that it had its qualities and appeal to fans of psychological horror. After all, critics may point out King's work as part of the so-called "lower literature," but his sense of atmosphere, psychological portrayal, expression of emotions, etc. cannot be denied - he was a true master at that. On the other hand, no offense to Brian De Palma, but I don't see the same atmosphere, tension, and sense of capturing emotional dramas in his characters, not even in Mrs. White as Carrie's mother. The only thing that really works well is the casting and the performance of the main character. For the outstanding Oscar-winning actress Sissy Spacek, this was probably the most gratifying role in her otherwise fruitful career. The opening scene set in the girls' locker room is interesting, where Brian De Palma demonstrates his sense of eroticism and the exploration of the beauty of the female body. He had a rather long period when he experimented with how far nudity and sexuality could go in mainstream cinema, and his music video connected to the song "Relax" by Frankie Goes to Hollywood on YouTube best illustrates what De Palma was aiming for. Overall impression: 45%. ()
Absolutely brilliant in its direction, Brian De Palma's style is incredibly progressive and purposeful, at times, it feels like being on a roller coaster. It starts with a phenomenally shot scene in the showers, continues with several silent scenes (only music and image), and ends with the division of the screen into several frames and the sped-up voices of the actors. Insane, but incredibly daring. Some of the script tricks are hard to understand, but the story itself is relatively simple. However, it is the director's skills that truly stand out on this relatively flat and straightforward film. Sissy Spacek is not particularly terrifying, and even the final scene did not make me cover my eyes – although it is impressive, no doubt. However, there are several significantly better adaptations of Stephen King's books that easily overshadow the slightly above-average Carrie. ()
I found it hard to rate this film, it’s subtle and precise as a drama, effective and terrifying as horror. Perhaps deliberately, perhaps unintentionally, De Palma completely abandoned King's mystery style and his story of a high school girl tormented by her mother and ridiculed by her classmates is an example of the kind of slow build-up of tension we know only from Kubrick's The Shining. Some of the scenes and the characters' actions may seem silly, predictable and tedious, but what we actually have here is a well-served teen drama that has everything in the right place, and the occasional glimpse of supernatural horror seems to prepare us for the impending climax. Sissy Spacek is absolutely fantastic in her role and her deranged and fanatical mother exudes a hearty aura of fear and madness thanks to Piper Laurie's performance. The last half hour is masterfully directed and perfectly reflects the unpleasant atmosphere that builds up during the film. Carrie probably won't bring modern audiences to their knees, but compared to today's would-be horror films, it has enormous charm. 75% ()
DePalma is a demon and his shot composition should be considered a national treasure. In some shots (like the opening prom) he goes from almost a panorama to a medium close-up of a character the shot ends up following, which must be a real art, considering almost everything in that shot is in motion. Sissy Spacek is ingenious, and it's by working together with the director that they are able to create in record time a solid relationship between the main character and the audience such that it’s a wonder they don’t clap along with the audience as Carrie and Tommy become the queen and king of the evening. Not to mention that we all know how it's going to turn out anyway. Otherwise, the De Palma-esque tension here isn't even based on when things break and Carrie wipes out the school, it's based on Carrie losing all illusions and going from feeling absolutely happy to the very bottom, which no one wishes for her. An awesome King adaptation that's only killed by five additional endings (the movie should have ended imho either like the book or, if there's no money, by leaving the prom) and the occasional haha scenes like something out of Grease. Anyway, I'll give it a five for the directorial bravura. ()
After many (and I mean many) years, I returned to this film, and I hate to admit it but I noticed some goofs that I hadn’t noticed before. Despite that, it is a film whose creators (as one of the few) did not butcher King's novel. Anyway, Sissy Spacek was brilliant and it's a shame that Piper Laurie didn't get more screen time, I think it would add to the atmosphere. 4- ()
Annoyingly truncated and altered compared to the book, but still very much above average. Maybe Carrie White's psyche and early childhood deserved a little more space, but then I could nitpick everything. :) The book by Stephen King – 5 stars, the film by Brian De Palma – 4 stars. ()
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