Having watched both De Palmas in the last couple of weeks, I just tied together how the POV of Capone's hitman going from window to window watching Malone move through his house echoes the killer watching the goings-on in the women's dormitory in the movie-within-a-movie that opens BLOW OUT.

I like this symmetry because I think of BLOW OUT as De Palma's early masterpiece and THE UNTOUCHABLES as his best film that someone threw actual money at.

For the occasion, I'll reup this account of my long-ago visit to Union Station in Chicago, the scene of De Palma's Odessa Steps homage. Cross my heart and hope to die, it's all perfectly true.