Obsession

I revisited "Obsession" recently because I've always been a fan of the late, great Bernard Herrmann. In the late 1970's, I bought the "Obsession" soundtrack on LP because, as one critic so aptly wrote, "Herrmann's score would make even blank film compelling." As for what happens on the celluloid, it's obvious that this movie was a lower-budgeted rush job (example: mid-70's automobiles in scenes of 1959 New Orleans). It's also quite a feat to make Florence look so drab and gray, while the middle third of the film bogs down tremendously. And the excessive use of filters by Vilmos Zsigmond makes the film look less ethereal than out-of-focus.

In my opinion, the only other positive for the film is Genevieve Bujold's performance. It stands in marked contrast to the one given by Cliff Robertson, who is leaden throughout and provides no shades or nuances of a conflicted man. And a young John Lithgow fares no better, with his outrageously syrupy Southern accent.

Five stars out of ten. For Benny and Genevieve.

Obsession is directed by Brian De Palma and written by Paul Schrader. It stars Cliff Robertson, Genevieve Bujold and John Lithgow. Music is by Bernard Herrmann and cinematography by Vismos Zsigmond.

You either love him or hate him, it seems. Brian De Palma that is. He's an amazing stylist who made some piercingly great thrillers in the tradition of Maestro Hitchcock, or he's a knock off artist using style to hide his inadequacies as a story teller? One thing for sure, for a good portion of the 70s and 80s his films would not be ignored, for better or worse depending on your own proclivities of course.

Obsession, as has been noted numerous times, is De Palma's homage to Hitchcock's masterpiece, Vertigo. It's not a straight out copy as some reviewers have somehow managed to convince themselves, but narrative drive is similar. Robertson in grief for a passed on wife (Bujold) and daughter meets a doppelganger (also Bujold) of his dead wife 16 years down the line and becomes obsessed with her. As the new woman reciprocates the attraction, the relationship becomes wrought and borderline unhealthy, reaching a crescendo when muddy waters are stirred and revelations force the can to open and worms to spill everywhere.

When remembering that for a long time Vertigo was out of circulation in the 70s, Obsession was sure as hell a good second option for anyone hankering for a superbly stylish thriller boiling over with psychological smarts. Even if you buy into the style over substance argument, what style there is here though. Roving camera work, up tilts, haze surrounds, canted frames, pan arounds, dream shimmers and personalised focus. Add in the splendid use of New Orleans and Tuscany locations and Herrmann's sensually dangerous score (lifted in part and re-worked from Vertigo) and it has style to burn. While the big reveals at pic's culmination are in turn intriguing and daring; even if the original ending planned would have really put the cat among the pigeons and made for a more potent piece ripe for heated discussion.

Lead cast are on fine form, Robertson plays it superbly as a wistful and damaged wastrel, guilt and obsession seeping from every pore. Bujold is just darling, a telling twin performance that actually doesn't demand to be noticed until late in the play. While Lithgow stomps around the edges of the frame like some shyster lawyer whose tie is on too tight. Ultimately Obsession is a film crafted in the mode of Hitchcock, but not in anyway disgracefully so. This is no illegitimate relation to Vertigo, it's more like a reliable brother-in-law. Pulpy, Trashy but also Classy. Great. 8/10

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.

"Obsession" is truly the best movie Hitchcock never made.

It came out the same year as the great master of suspense made his last movie, the disappointing "Family Plot", it has a classy, brilliant soundtrack by the legendary Bernard Herrmann that fits nicely in with the work he did for Hitchcock, it has a wonderful script by Paul Schrader that will keep you guessing till the last frame, and last but not least: it's directed by Brian De Palma, who despite being slammed by some (stupid) critics for ripping off Hitchcock should in stead be praised for being able to copy the master better than any other living filmmaker.

Hitchcock is my favorite director of all times, and "Obsession" is so much like one of his films that it's difficult to accept that it was put together by another man. But De Palma doesn't deserve criticism for honoring his idol, he deserves praise for delivering a movie that, had it been made by Hitchcock, would rank among his finest films.

That's quite a feat! If you are a fan of De Palma or Hithcock you are almost guaranteed to love "Obsession", a highly underrated thriller that left me an even greater fan of Robertson, Bujold, Lithgow, De Palma, Schrader, Herrmann and every one else involved. Sit back, enjoy it and watch out for those wonderful last 20 minutes!