Iconic movie scene: The Untouchables’ Union Station shoot-out. The Untouchables (1987) Filming & Production. Ness and Stone were originally meant to engage in a gunfight inside a train carriage. De Palma always proves: If you steal, steal from the best. Every product was carefully curated by an Esquire editor. Directed by John Peyser. You may be able to find the same content in another format, or you may be able to find more information, at their web site. Yes No. The Untouchables is an American crime drama produced by Desilu Productions that ran from 1959 to 1963 on the ABC Television Network. 47.166901,-111.834168. Paul Schrodt is a freelance writer and editor who also contributes to Esquire, GQ, Money, The Wall Street Journal, and more. From over his right shoulder, the accountant appears, and heads down the stairs.And then the sequence reaches a turning point. In The Untouchables , it is, too, just in a glossy, '80s, Kevin Costner kinda way. The two tiny figures are dwarfed by the building’s colossal pillars, and as the camera zooms and then glides, we’re shown where the two characters go, and where they stand in relation to one another – Ness remains at the top of the stairs, heading off to a vantage point on his right; Stone, meanwhile, descends to the floor below, passing a pair of sailors as he does so.Meticulously, De Palma gradually builds up the tension. When Paramount bosses concluded that building a 30s train would stretch the budget too far, De Palma came up with the sequence seen in the finished film, shot on location in Chicago’s station to save money.Through a mixture of fortune, inspiration and artistry, De Palma created an unusual fusion of violence and intelligent design for Anxious to get to the violent part of the set-piece, many filmmakers would probably be inclined to edit the initial build-up down to its barest essentials – a brief look at the clock from Ness, perhaps, and maybe a shot of the woman mounting the staircase.Instead, De Palma’s build-up lasts more than five minutes. Then, thrillingly, after more than seven minutes of tension, De Palma introduces the pay-off, which occurs with breathtaking speed.Dashing to the rescue, Stone brings the pram to a halt with a knee, as Ness guns down a particularly tenacious bad guy lurking by a Doric column. A young mother appears at the foot of the stairs, pushing a pram while holding two heavy-looking suitcases. And just as we’ve adjusted to this dizzying switch of perspective, Hitchcock cuts again to an extreme close-up of Arbogast’s bloodied, screaming face; the camera follows him as he makes a fatal plunge back down the stairs.Hitchcock found a way to appropriate Eisenenstein’s techniques and imagery for a moment of suspense and then shock rather than propaganda, which is precisely what De Palma achieved in Shots of the pram’s wheels skittering down the steps are intercut with bloodied corpses and bullets ricocheting off marble. Ryan takes a … First, that through referencing Eisenstein, De Palma is openly acknowledging his forebear’s profound impact on movie making, in particular his use of montage to wrest emotions out of his audience. This commenting section is created and maintained by a third party, and imported onto this page. Let's dive into this case file. The behind-the-scenes story of The Untouchables could fit right in with one of its scripts, as Mafiosi, government figures and pop idols all tie into its fascinating tale. Brian De Palma directed one of the finest sequences of his career in The Untouchables. But Capone's bookkeeper is giving him a run for his money. Great scenes, both of them. Without dialogue, De Palma illustrates what’s going on inside his hero’s head: Ness stands watching, nervously torn between helping the woman carry her burden up the marble steps, and maintaining his watch for the accountant.A less confident director would, I’d suggest, have cut this scene rather differently. In Potemkin, the scene is epic, historical, unnerving. Actually, the scene where there is a shootout on the Canadian border was filmed on the Hardy Bridge on Old US Hwy 91 as it passes over the Missouri River. View All Videos (1) The Untouchables Quotes.
Brian De Palma directed one of the finest sequences of his career in The Untouchables. Ennio Morricone ’s sweeping score complements the David Mamet script, which eschews historical accuracy in favour of an epic struggle between good and evil. Given that the clock glimpsed earlier read 11:55, this scene plays out more-or-less in real time – something that is becoming increasingly rare in the hyper-kinetic thrillers of the 21st century.Eventually, Ness gives into his good nature, and rushes down the steps to help the mother drag her pram up the stairs. Showing all 17 items Jump to: Filming Locations (16) Filming Dates (1) Filming Locations. For about a month, it was greenlit.
With each thunk of the wheels on the steps, De Palma continues to build the sense of anticipation with characteristic glee. We may earn a commission from these links. Directed by Brian De Palma. This is south of Tower Rock State Park. You may be able to find more information on their web site. Idealistic cop Elliott Ness (Kevin Costner) along with sharp-shooting partner George Stone (Andy Garcia) have arrived at the city’s Union Station in order to apprehend Mob accountant Walter Payne (Jack Kehoe), who holds evidence that could put crime boss Al Capone in prison.What follows is the cinematic equivalent of a grand toppling domino display. Frank Nitti: Your friend screamed like a irish pig (Ness throws him of the roof) From a point-of-view shot, Ness watches as the scenario he’s been dreading unfolds: various men in suits – who at this point may or may not be Capone’s heavies – emerge from the doors beneath the clock. When his mother picks up the shattered body and appeals for help, the soldiers shoot her, too.The violent incidents mentioned above occur before On the surface, De Palma’s employment of such a powerful moment in cinema may seem somewhat cavalier, but there’s more going on here than mere self-conscious referencing. When he does, Hitchcock switches to a jarringly distant overhead shot, in which we see a figure emerge from an upstairs room and attack the detective with a knife.
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