Throughout the film, Carter is almost constantly besieged by images of perfect women. After kidnapping a little boy, he drives to his idyllic, fairy tale house, and a gorgeous woman pushing an ivory white baby carriage is seen walking across the sidewalk. She is society's image of a perfect parent...something Carter can never be; at least not until he becomes Margo.
What's more interesting, perhaps, than the homages to the "fathers" (Hitchcock, Powell, perhaps even Bunuel...), is the clear self-reflexive aspect of Raising Cain. Here -- after a dramatic career failure, -- De Palma is seen as taking up his life's work, which -- not coincidentally - was the life work of Hitchcock: the formalist cinematic thriller. Just as Carter takes up Nix's work; De Palma resumes his Hitchcockian phase. But, just as Carter transforms, De Palma transforms too. He takes this Hitchcockian thriller to an apex never before imagined, and he does so by giving the film not just one perspective, but many.