Obsession

Brian dePalma really accomplished quite a feat by paying homage to Hitchcock with a strong variation on VERTIGO's theme--a man who loses the woman he loves sees her reincarnated in another woman and then loses her too.

He takes this premise and does some fancy camera-work that swirls around the lovers with an intensity only matched by the whirling colors of Bernard Herrmann's magical score. He sets up the tale by having a convincing kidnapping take place in which his wife and daughter are taken by the criminals and has him mourning their loss until he encounters another woman in Italy, years later, who strongly resembles his presumably dead wife.

The rest of the plot must remain undisclosed for "spoiler" purposes, but I'm sure there are those who will at least have a suspicion as to the real purpose of all the foregoing events.

CLIFF ROBERTSON has the difficult chore of appearing downtrodden and depressed most of the time, so GENEVIEVE BUJOLD has the task of brightening up the tale with her unconventional good looks and upbeat manner. JOHN LITHGOW makes his screen debut as Robertson's close friend and business acquaintance.

If it's a stylish dePalma movie you're in the mood for, this one will fill the bill nicely. And that Bernard Herrmann score alone makes watching the movie completely worthwhile. It's dazzling.

It's pretty amazing how a guy with a Hitchcock fetish, an appetite for visual experimentation and an ever so slightly perverted mind can have made such uniquely compelling films.

While Brian De Palma has never exactly been shy about his influences as a filmmaker, this has to be his work that most overtly and specifically references that of Alfred Hitchcock. For where the impact that 'the Master of Suspense' had on De Palma is evident throughout his filmography in terms of stylistic choices and recurring themes, 'Obsession' (which might as well refer to De Palma's relation with Hitchcock, maybe even 'Vertigo' in particular) borrows heavily from the master on a narrative level as well. It is even said that Hitchcock was furious when De Palma decided to make this film, as he thought it was virtually a remake of 'Vertigo'. While 'Obsession' cannot be called a remake of that seminal Hitchcock film in any literal sense, the many parallels between the two films are undeniable and, in the documentary 'De Palma', the director unabashedly acknowledges that he and 'Obsession' co-writer Paul Schrader came up with the idea for their film after revisiting 'Vertigo'.

Both in terms of its story and its central themes of identity, loss, love and yes, obsession, 'Obsession' is basically 'Vertigo' with some shades of 'Rebecca' sprinkled in during the latter part of the film, culminating in a lurid finale with a perverted, Freudian twist that could only have sprung from the warped mind of De Palma (although Park Chan-Wook has come up with one or two of those throughout his career). Still, despite its apparent lack of originality (in terms of its content at least), the film managed to grab my attention from the start and kept me captivated all the way through to that twist ending, which is mostly a credit to the stylistic prowess of De Palma and the haunting score by frequent Hitchcock collaborator Bernard Herrmann (who did the score for Vertigo as well). With his inventive camera movements (the camera seems to be endlessly circling at times, which has an almost hypnotizing effect on the viewer) and often jarring camera angles, De Palma keeps things visually interesting. These creative elements, combined with the great use of atmospheric shooting locations New Orleans and Florence, create a dreamlike, melancholy atmosphere, which is further amplified by the movie's lighting.

After having started a bit of a deeper dive into his filmography, there is no denying the gifted director that Brian De Palma is stylistically, and it makes for films that are never less than interesting. Even though he wears his cinematic influences on his sleeve for all to see (in addition to multiple Hitchcock films, 'Obsession' also seems to draw inspiration from Nicolas Roeg's 'Don't Look Now' and Giallo horror), De Palma is talented enough as a filmmaker that he can skillfully weave these different influences together and still create something new and original. Because of his singularly playful visual style, De Palma's films always end up having their own distinct personality, despite their often-obvious reference points. After having been through Hi, Mom!, Carrie and Obsession over these last few weeks, coming up next up in my Brian De Palma 'oeuvreview' will be a rewatch of Blow Out. And I guess I'll have to give Vertigo another look now as well.

...or rather nightmarish,this is probably De Palma"s finest achievement.Here his obsession with Alfred Hitchcock is subdued or thoroughly mastered.Of course we cannot help but thinking of "Vertigo" but De Palma's work is made with taste :two good leads -Cliff Robertson,whose eyes seem to reflect fatality,and Genevieve Bujold whose beauty seems to plunge the audience into a dream(the sequence in the church makes her look like a madonna)-.Besides,Bernard Herrman's score is absolutely mind-boggling,enhancing the strangest sequences in an almost religious incantation.The cinematography is up to scratch,and the directing remains sober.The Hitchcock quotations take a back seat to De Palma's talent:compare this work with the grand guignol of "Carrie" the follow-up,the sensationalism tinged with melodrama of "fury" (no,it's not a remake of the Fritz Lang classic),the plagiarism of "dressed to kill" or "Body double".

One may regret the last pictures in slow motion.But that's minor quibble.This is De Palma's magnum opus,and it will be "blow out" before he puts out a genuinely personal movie.Do not miss it.

Underrated masterpiece by De Palma was basically disregarded due comparisons to "Vertigo". Sure, the basic premise is the same, but De Palma takes it in a totally different direction. Technically, this is among his best works, with the beautiful camerawork complimenting a haunting, disturbing story. The story takes it's time, and while the slow pace may bother some viewers, patient viewers will realize that it works to draw them in. By the time it is over, it feels like you have just come out of a trance.

Brian De Palma once again shows his obsession for Alfred Hitchcock. He brings in some overwrought music from Bernard Herrmann.

This is another stylish but flawed film from De Palma with a dreamlike romantic mystery to cover up a controversial strand of the storyline.

Michael Courtland (Cliff Robertson) is a real estate developer in New Orleans whose wife Elizabeth (Geneviève Bujold) and daughter Amy are kidnapped. From the advice of the police, he does not pay the ransom. A botched rescue attempt leads to his wife and daughter's death.

Michael is left devastated. 16 years later, he goes on a business trip to Italy with his business partner Robert LaSalle (John Lithgow.) To his astonishment he meets Sandra Portinari, a woman who looks like his late wife at the same church he originally met her in Italy.

Michael becomes obsessed with Sandra and asks her to marry him. When he brings her to New Orleans, his friends and colleagues are worry about Michael. Fate plays a cruel twist on him as Sandra disappears one morning.

This is a moody, uneven and a slow moving thriller. De Palma is yet to master suspense and the script he co-wrote with Paul Schrader is choppy.

Bujold is very good in a difficult role. Robertson looks like a television actor who struck it lucky with an Oscar. He is just too bland. Lithgow on the other hand is too fruity who signals his nefarious hand in any twist in the plot.