Obsession (1976) User Reviews

obvious

[SnoopyStyle · 6/10 · 24 May 2020]

It's 1959 New Orleans. Elizabeth Courtland (Geneviève Bujold) and daughter Amy are kidnapped for ransom. Michael Courtland (Cliff Robertson) sells to his business partner Robert Lasalle (John Lithgow) to raise the money. Following police advise, he gives the kidnappers fake money and the deal goes badly. Elizabeth and Amy are presumed dead after going off a bridge. Michael builds a tomb for them and refuses to develop the valuable land surrounding it. It's 1975. He and Robert go to Italy for business where he falls for Elizabeth lookalike Sandra Portinari (Geneviève Bujold).

The fake money ended any hopes for greatness. It's an annoying little detail but the movie can still be good. At the very least, the police would use counterfeit money which can be tracked. The kidnappers are probably going to open the suitcase as soon as they get into the van. It's a stupid little detail which I have to ignore. The other problem is that the villain is obvious from the start and the reason for the whole thing can be logically deduced as soon as the premise is revealed after thirty minutes. There is also a final twist that seems obvious as a possibility. It's not quite so well conceived either. I don't really buy the flashbacks and Sandra's progression. Maybe if she was brutalized, she could become submissive to the plan. This is a twisted mystery from director Brian De Palma but it's not as mysterious as it should be.

Messy and Chaotic Screenplay

[claudio_carvalho · 6/10 · 22 April 2012]

In 1959, in New Orleans, the businessman Michael "Mike" Courtland (Cliff Robertson) celebrates the tenth wedding anniversary with his beloved wife Elizabeth (Geneviève Bujold) with a party in his manor. Late night, Elizabeth and their daughter Amy are abducted and the kidnappers leave a note asking the ransom of US$ 500,000.00. However Mike calls the police but the rescue operation is a mess. When the criminals are pursued, there is a car crash and it explodes. Mike blames himself for the death of Elizabeth and Amy and builds a memorial in the location of the accident.

In 1975, Mike travels with his partner Robert Lasalle (John Lithgow) to Florence in a business trip and when he goes to the church where he first met Elizabeth, he sees the worker Sandra Portinari (Geneviève Bujold) that is working in the restoration of a painting of Madonna and is a dead ringer of Elizabeth. Mike becomes obsessed in Sandra and dates her. When Mike travels back to NOLA, he brings Sandra planning to marry her. However, Sandra is also kidnapped and Mike finds a ransom note identical to the one he received when Elizabeth was abducted. Now Mike believes that destiny has given a second chance to him and he does not want to blow it.

"Obsession" is an average thriller by Brian De Palma with a messy and chaotic screenplay. The greatest problem is the lead actor Cliff Robertson that keeps a wooden face with the same expression and never convinces. The plot is also silly and weak since Bob has waited fifteen years to lure Mike and take his real state. The incestuous romance between Mike and Sandra is also lame since she could be a "good catholic girl", but she certainly has had intimacies with her father in the name of revenge. Last but not the least, this is the first feature of John Lithgow, who has always been doomed to be the villain. My vote is six.

Title (Brazil): "Trágica Obsessão" ("Tragic Obsession")

Déjà vu and Déjà vu.

[hitchcockthelegend · 8/10 · 12 February 2014]

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

Intriguing,dreamlike if slow romantic romantic thriller,certainly NOT just a Vertigo rip off

[DrLenera · 30 March 2005]

Obsession has been somewhat overshadowed by some of director Brian De Palma's other Hitchcock-influenced suspense thrillers like Dressed to Kill and Body Double. This is a shame,because Obsession is one of his very best. It's a very slow moving film,and requires total immersion in it's suffocating atmosphere. And it's certainly NOT simply a rip off of Vertigo.

What De Palma does is take the basic idea of Hitchcock's film-a man losing a woman and than encountering her 'double'and than spin a very different story off it. In fact,De Palma's 1984 film Body Double copies a lot more of Vertigo! Some parts of Obsession seem closer to Rebecca,and there are some obvious references {scissors from Dial M For Murder,for example}. However,Obsession is also entirely it's own film. It has an atmosphere and feel all it's own.

Although there are suspenseful bits in the film,and despite a very emphatic but appropriate score by Bernard Herrmann which in it's own way also tells the story,Obsession is a film of restraint,it's characters seeming to move in a dream,making Cliff Robertson's undoubtedly bland portrayal of the hero almost appropriate. There is a slow,balletic grace to the film. De Palma's signature show off moments are often less flashy but amongst his most brilliant,check out the scene with Robertson as he watches the creation of a mausoleum for his dead wife,and see if you notice the beautifully subtle transition to 18 years later. Some of the scenes of the heroine {a simply delightful Genevieve Bujold}in Robertson's house are extremely eerie and contain a very slow but effective 360 degree camera spin,while the flashback scenes near the end are very cleverly done-notice the way Bujold's character as an adult is put into the flashbacks when she was actually a child.

More than any other De Palma film,this has moments of pure beauty,often when film and score combine {one could write a whole review of the score itself}. One example is the scene when Robertson enters the church where he first met his wife. Vilmos Zsigmond's gorgeous photography and the quiet organ and string piece of music used create such a strong,almost ghostly atmosphere,and than Robertson sees Bujold,and she turns round in slow motion while the score's often used wordless choir plays. Beautiful.

The film's Big Twist is probably guessable,and any potentially questionable {you might consider the 'twist' in poor taste} elements are not really answered at the end. However,Obsession is a much more compassionate film than Vertigo and indeed most of De Palma's other films,which,while often brilliant pieces of cinema tend to treat it's characters like pawns to move to the next great set piece. Obsession is a very rewarding and satisfying experience it you relax and let it take over you.

Cleverly contrived plot with a stunning Herrmann score...

[Doylenf · 6/10 · 1 October 2006]

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.

Mysterious story, competent performances and sense of style

[ma-cortes · 7/10 · 18 December 2009]

A rich businessman (Clift Robertson) meets an enigmatic young girl ( Genevieve Bujold) in Florencia . She is the dead ringer image of his late spouse who was murdered by kidnappers during a car accident at a backfired rescue . It leads to a mesmerizing cycle of traps and lies.

A classic in suspense from De Palma , pitching us right into the action from the beginning and baffling most of us to the ending. There is much for De Palma buffs to savour in this thrilling and atmospheric handling of a complex story with deliberately old-fashioned treatment . Robertson is assured as ever as the obsessed millionaire battling against his obsessions and Bujold in a difficult double role as the girls who looks exactly like the wife, she strangely adds depth to her acting. There are tense key images that that are brilliantly staged. This romantic flick is plenty of mystery, intrigue, and suspenseful. Adding special characteristics techniques as ominous camera movements .

Brian De Palma's homage to Hitchcock and the amusement turn out to be inquire what scenes taken from suspense Master. For that reason takes parts especially from ¨Vertigo¨. All this said, the mechanics of suspense are worked quite well and may frighten the easily scared quite badly, but De Palma has made a habit of dwelling on their more sordid side-shoots. The film displays a great and haunting musical score by Bernard Herrmann, Hitchock's favorite composer and imitating his former hits. Furthermore appropriate cinematography by cameraman Vilmos Zsigmond, though is urgent a necessary remastering because of the colors are faded. The picture is brilliantly directed by Brian De Palma. This one along with ¨ Sisters,Dresssed to Kill, Blow out¨ are outwardly another ode to Hitchcock, but the Master might well shift uneasily in his grave at the long-drawn-out tension, the flash scenes and the shock effects with the accent on gas-provoking , but on most occasion is thrilling. Rating : Above average but gets some riveting basic ideas and fascinating images.

curious, compelling mystery drama with a surprising ending, masterfully set up

[ghosthawk5 · 10/10 · 3 May 2001]

We all suffer from those deja vu moments in life when we feel we recognise a place we've never been before or a person we find has an uncanny resemblance to someone we once knew, a loved one, friend or relative. I know of only two film directors who have taken this phenomenon and weaved it into movies worthy of watching. The pioneer in this case is, Hitchcock, and the film ,Vertigo. But in Brian De Palma's(Fury, Carrie, The Untouchables etc) Obsession, we come up with a truly well crafted, flawless tribute to Hitchcock and Vertigo. I'd have to agree with another reviewer that this movie vastly surpasses Vertigo in many respects. I'm equally surprised that its not that well known or reviewed.

The film sets the scene in Louisana state where there is a 10th wedding anniversary going on for Michael and Elizabeth Courtland. Michael played by Cliff Robertson, is a real estate businessman in partner with John Lithgow as Lasalle. Genieve Bujold( Anne of a Thousand Days) plays Courtland's wife, Elizabeth. There is a kidnapping that night in which Courtland's wife and daughter are seized and a ransom demanded for their safe return. The intented rescue goes wrong and both victims are killed in a high speed chase when the car they're occupying collides with an oil tanker, however the bodies are not recovered. Sorry that's as far as I'll tell you about what happens next. Please see the movie, its pure brilliance and the unusual feature about this gem is its connections with Vertigo. For one thing we have the same musical scorer, Bernard Hermann, who gives an excellent off beat musical theme here. Elements common to both films include both Genieve Bujold and Kim Novak(Vertigo) studying a portrait hung on a wall, Bujold in Courtland's house, Novak in an art gallery. We have male pursuers of female interests. Jimmy Stewart observes Novak during her daily excursions around San Fransisco (Vertigo), Robertson follows a woman who resemblances his former wife, around Florence, Italy (Obsession). We have mysteries to be solved in each film. At one point in Obsession, Bujold composes a letter only to crumple it up as it inadequately expresses her feelings. Novak does the exact same thing in Vertigo. Watch the piece with a gold plated pair of scissors that glints at the camera (Obsession), this technique was used very effectively with a knife in De Palma's DRESSED TO KILL movie. And I ask, is that Tom Skerritt I see towards the end of the movie dressed as a security guard who approaches a TWA check-in clerk? It wouldn't surprise me if it was, why? Because as any film fan knows, Skerritt was the captain of the Nostromo in the Sci-fi horror film ALIEN. What's the connection you ask? Well interestingly, One of the other members of that ill fated space crew just happened to be Veronica Cartwright who, God bless her little lungs, lets out some of the best screams in Hitchcock's THE BIRDS!! Apart from these connections what impressed me most about OBSESSION was the story by Paul Schrader, the acting, especially Bujold, who exudes a captivating sensuality in the film and John Lithgow as the upbeat business partner to Robertson. Robertson's character was difficult to play as he was constantly in a state of what seemed like eternal remorse, difficult to portray that kind of a mood on celluloid. But the most impressive feature by far was the masterful film editing done by Paul Hirsch. With only 6 years experience under his belt he produced such simple and fluid dynamics that lended some memorable moments to this film. One such piece of magic is John Lithgow's face morphing into someone else's in an airport scene and then morphing back again to show the compression of memory and time. Another time compression feature is where Robertson stands on a memorial site to his departed wife and daughter. The camera gives us a slow 360 degree panorama and when we return to Robertson's face we have miraculously advanced 16 years into the future. This is pure artistic work and it reminds me of the 'hands covering the face' scene in Cinema Paradiso, magic. Did you know that when Courtland's wife and daughter are kidnapped , the year is 1959 one year after the release of Vertigo and that a reference to pyschiatrists links both movies. Well there I go again. Better yet rent it on video you will be doubly surprised, I give it a definite 10.

Overwrought melodrama with overblown music

[Prismark10 · 6/10 · 22 February 2019]

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.

De Palma's best Hitchcock-movie!

[Renaldo Matlin · 10/10 · 6 September 2003]

"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!

Sort of works, sort of doesn't

[Samiam3 · 6/10 · 7 September 2010]

I say TO-MAE-TOE , You say TO-MAH-TOE. I say Vertigo, You say Obsession.

This early work of Brian de Palma freely takes plot material from Hitchcock's masterpiece. Indeed, Obsession strikes me as a more blatant Hitchcock steal, than the latter de Palma films also accused of being rip-offs (Dressed to Kill, Body Double, Raising Cane) The best and safest way to approach Obsession is to treat it not so much as a rip-off, but rather as a retelling. I suppose that would be the best way to treat all de Palma thrillers, come to think of it.

Brian De Palma, and co-writer Paul Shrader have chosen to take this story away from San Franscisco (Vertigo) and into Venice where de Palma can integrate long sweeping takes of renaissance churches with religious art, and work his camera through a labyrinth of four hundred year old, narrow streets/alleys.

Despite being derivative, Obsession entertains....for a while. Three errors come to mind, which hurt the movie. a) Cliff Robertson is no James Stewart, His performance as a distraught millionaire following a Venetian girl who resembles his dead wife, is stiff and unconvincing. b) the film is surrounded by a score that is over composed, too assertive and draws more attention to itself than it should. c) the climactic finale is chaotic and dumb. Despite a few good de Palma shots, Obsession comes with a disappointing pay off.

I'm not sure who best to recommend Obsession to. I would certainly not suggest it for those who worship Hitchcock. It's watchable, but De Palma has done better, as has the thriller genre.

One of De Palma's Lows

[HiPalmetto · 5/10 · 10 July 2015]

As a fan, big fan, of the majority of De Palma's work, I was looking forward to seeing this. I'd never seen it before , somehow it had slipped past me. Now, having watched it, I can only say that maybe I had a kind of 6th sense when I was younger that warned me away from it. Sadly, that sense seems to be fading. This tale of triple obsession (yes, triple) should've been a huge turkey. Difficult to believe it ever broke even, never mind made a profit, as I see it has from this website, though I reckon it must've taken a while. Visually it's interesting, the only real strong point from De Palma that I'd note, though given the Italian locations especially it's still surprising he doesn't do more with the visuals. The performances he gets are barely satisfactory and rarely convincing, not helped by a ridiculously bewigged and mustachioed John Lithgow. Cliff Robertson, a fine actor, is suitable for the romantic side of the story but never at any time convinces as someone tortured by guilt for some 15/16 years.

That may not have been entirely his fault since the Paul Schrader script gives him, and everyone else, so little to work with. Full of anomalies and plot holes, while the viewer will likely have every plot twist worked out in the first 25 minutes, the script itself doesn't seem to know where it's going for the first hour with it's snail's pace development and reliance on atmospheric score to keep the audience warm.

I've seen this called a psychological thriller but what thrills it has, and there aren't many and they aren't that thrilling , mostly come in the first and last ten minutes. Having sat through most of the movie waiting for something to happen, when it does, it only highlights the worst shortcomings of script and direction with unbelievable character u-turns, revelations, coincidences and just plain stupidity, such as Robertson going to the airport to book a flight , finding out there's one about to leave at that moment and just running for it without getting a ticket. The script actually makes a comic moment of it just to emphasise how stupid it is. (Even stupider than the 1959 New Orleans police as represented here also.) The film ends, more or less, with a priceless look of bewilderment on Robertson's face as, even with all the previous revelations, he finally starts to understand what has happened to him. He can't do tortured guilt, but by goodness he can do bewilderment. Funnily enough that exact look was visible on the faces of quite a few others in the cinema as the lights went up, though most likely for other reasons, that they'd sat through it all, that it had ever got made in the first place, that this stylish piece of trash could come from De Palma, etc..

ONE OF BRIAN DEPALMA'S MOST UNDERRATED FILMS

[KatMiss · 10/10 · 16 July 2001]

"Obsession" is one of Brian DePalma's most underrated films. It is a thriller of tremendous power and grace. It is also the recipient of some of the most negative reviews in DePalma's very checkered history.

I personally think that Brian DePalma is one of our very best directors. I would even classify him as a great director. His best films are his thrillers, which are inspired by Alfred Hitchcock's work. Most critics think DePalma is nothing more than someone who rips off Hitchcock. But in his defense, he does not rip off Hitch. He is his own artist. He has his own agenda in each and every film he has made.

"Obsession" is often touted as a "rehash of Vertigo". But DePalma takes the basic premise and turns it upside down, creating twists and revelations that Hitchcock only dreamed of. The film stars Cliff Robertson, in his usual fine performance as a man whose wife and daughter are kidnapped and killed in a setup gone bad. The film opens in 1959 and then skips ahead to 1975 with Robertson standing at the graves (really nice camerawork in this sequence as time fades away) Robertson is in Italy for business when he sees a young woman who strongly resembles his late wife (since both are played by Genevieve Bujold, this is no coincidence)You can pretty much guess the rest.

Or can you? What makes "Obsession" really stand out is the final 25 minutes in which DePalma and cowriter Paul Schrader (himself a fine director; his credits include "Hardcore", "Blue Collar", "American Gigolo" and "Mishima")put in so many twists and turns that a second viewing may be necessary to sort out all the details. While most people may dismiss this as a ripoff of "Vertigo", remember that at this time "Vertigo" was currently unavailable period. No TV viewings, no tapes, no theatrical runs, nothing. DePalma may have been trying to make a film to fill the void left behind by that disappearance. But he makes a film that is more satisfying than the Hitchcock film. "Vertigo", brilliant as it was, was a real downer. "Obsession" is shorter at 98 minutes, but it has a delibirate pace that makes it feel longer. In a lesser work, it would be intolerable, but here it is appropriate.

The technical credits are solid as a rock. The Panavision photography by Vilmos Zsigmond is outstanding as is the Bernard Herrmann score (his next to last). Robertson and Bujold give strong performances, but it is DePalma regular John Lithgow who is the most memorable.

See "Obsession" two or three times to get the full effect. It takes some effort to get used to, but it's worth it.

**** out of 4 stars

Obsession offers a glimpse into De Palma's own cinematic fixations

[laurenspierre · 7/10 · 19 November 2023]

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.

Obsession brings abundance of inconsistencies and arguably elaborated thematic of incest

[veronikastehr · 4/10 · 10 August 2014]

At the turn of the seventies and eighties of the 20th century De Palma had a fertile period of making thriller/horror genre films; during which period he directed some 10 of these. Thriller drama Obsession is among them. Although the film did not succeed in reaching a cult status such as Blow out, Dressed To Kill, Carrie, Sisters... it features a lot of interesting characteristics present in all De Palma's films from that period; continuous uninterrupted shots, 360 degree rotation camera, unusual angles of view that emphasize psychedelic atmosphere (Dutch angle), a subtle way of revealing details... Besides the director's recognizable signature, the film abounds in a series of clumsy solutions and archaisms and this is the reason why it fell into shadows and oblivion giving way to more accomplished films of that period. Today's anonymity of the film does not, however, mean that at the time of its release it did not arouse considerable interest among the public and yield profits.

His attitude of admiration towards and references to Hitchcock are much accentuated. This work could be described in a summary as a hybrid between Rebecca and Vertigo. The story is about a wealthy businessman, Michael Courtland (Cliff Robertson) whose wife and daughter were killed during a kidnapping attempt. The fact that he did not follow kidnappers' instructions, but those given by the police causes him to feel deeply guilty. From that tragic event on the time stopped for him. He spends his years in mourning his family until the day he meets a young woman Sandra (Geneviève Bujold) strikingly resembling his dead wife. He becomes obsessed with her. He enters quickly into relationship with her and wants to marry her. But we later discover that she is his daughter driven by the desire for revenge. She is acting in conspiracy with Michael's partner Robert (John Lithgow) who actually planned the first kidnapping, spared little Sandra, brought her up and made her hate her father. His motive is anger towards his partner whom he blames for business inefficiency and wish to take possession of his fortune. Michael kills Robert and realizes with his daughter how they were manipulated and forgive each other.

A premise as such contains some inconsistencies and arguably elaborated thematic of incest. An excellent acting could have given more strength to the film, but the opposite is what has happened - poor and unconvincing performance finished it completely. Cliff Robertson was an unlucky choice for the protagonist. He's lacking the necessary intensity and his gestures are packed with mannerisms. He gives impression of a wooden doll that expresses to experience strong emotions by starting to stare and blink. Romantic scenes are presented without any passion or obsession. It is interesting that there are no signs of aging, although the story covers 20 years. His co-protagonist, Geneviève Bujold showed greater acting capabilities, however she gave an uneven performance. She brought her character as an unfortunate person, not showing an obsessive need for revenge – that was supposed to be her main driving force and characteristic. Incest based approach applied through the whole film – in an unusually easy and romantic way. The question stays hanging in the air- What kind of a woman would accept to inflict vengeance upon her father through an incestuous relationship? And how is that possible that this dark, ill side of her character is not a theme treated in this film? John Lithgow (Michael's business partner) as far as he's concerned hasn't much to offer to this work, except for the evidence from the very beginning that he is the main villain. Through that the tension and culmination of final conflict are lost for the film.

The attempt to accentuate dramatic moments through long shots resulted in extremely boring sequences. As the acting is shallow, continuous shot just gave more emphasis to it. Neither the music was of great help, although made by one of top-level composers, Bernard Herrmann (Battle of Neretva, Psycho, Taxi Driver). The main theme is well elaborated – accentuates tension, however, playful symphonic scores in certain parts entirely ruin the course of film's plot. It is interesting, as well, to note that the first third of the film happens in the last decade of the 50s, nevertheless many style characteristics (footwear, hair styles, fashion...) belong unequivocally to the 70s. The film abounds in such inconsistencies which make it look antiquated and naive. This mediocre thriller seems to call for remake which would be able to explore the theme more deeply, put more emphasis on macabre ambiance, illnesses of obsessive impulses and incest of main characters. Such a story does not tolerate superficiality and glamorization, so eagerly adopted by De Palma for no reason.

Dreamlike..

[dbdumonteil · 18 September 2002]

...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.

This movie is cleverly designed to document how . . .

[oscaralbert · 7/10 · 6 July 2021]

. . . most if not all "rich people" are weak, craven, narcissistic, crazy, warped, deviant sociopaths with no redeeming civic value. Just as recent Game-Show-Host-in-Chief Don Juan bragged to raunchy radio roaster Howard about what "a fine piece of donkey" his own daughter was, Rich Red State Realtor Courtland weds and beds HIS only child, Amy/Sandra, to climax OBSESSION. This flick suggests that it is every Mercenary Money Miser's dream to metal fastener themselves, and that camel-bulging their own child is the next best substitute. Since America cannot handle The Truth about how perverse Lucifer's acolytes truly are, the base "core supporters" who share the genes making Wealthy Fat Cat One Per Centers prone to demonic possession have lately changed the U. S. Constitution to force their daughters to bear their OWN grandchildren, all medical and ethical humane interventions prohibited on the pain of death. OBSESSION tells us "Good luck with THAT!"

Boring at first, predictable twist, touching ending

[Groverdox · 6/10 · 12 March 2016]

The problem with so many of de Palma's thrillers is that they take so long in the set up. The pay offs are generally worth the wait, but you have to trudge through some tedium to get there.

"Obsession" isn't helped by a one note performance from the main actor, but at least John Lithgow is fantastic as always in bad guy mode.

The plot is about a guy who failed to save his wife and daughter in the '50s when they were kidnapped and held at ransom. He paid the kidnappers off with fake money and had the police arrest them, leading to his family's death.

In '75, the same man meets a woman who reminds him of his wife and falls in love. These scenes are boring. We know that probably nothing we see is going to be as it appears, but de Palma doesn't give us much to work with. You know not to take any of it seriously, and there's little in the way of scintillating evidence, so it's just boring waiting for the real movie to begin.

The plot twist, when it comes, is also a bit predictable. It was the ending, however, that I liked. That was genuinely touching.

Obsession

[lee953go · 10/10 · 30 October 2005]

No previews of this movie should be read if there is any chance that it gives away the plot of the movie. The ending is quite unbelievable and heart-stopping. You think all through this movie that you know what is going on--but you won't. I know people who saw this movie and still did not know what actually happened. I was fortunate enough to see this movie in a theater in 1976. There was hardly anyone else in the theater. In one week I saw the movie five times and would have seen it more but the theater ended the showing of it. In my city it was not shown at any other theater. The reason "Obsession" did not do well in ticket sales was that the title made people think of demon possession movies(which many were tired of at that time). It was not marketed correctly. The movie opens in 1959 as a rich business man in New Orleans, Courtland,(Cliff Robertson) is married to a wonderful wife and has a daughter who is about five years old. The wife and daughter are kidnapped and held for ransom. Courtland, thinking that he is doing the safest thing that he can do, contacts the police. The police find the kidnappers and the wife and daughter. The kidnappers escape with the hostages in a car and the police chase them. The kidnapper's car slams into a fuel truck on a bridge and all is lost. Courtland blames himself for the tragedy. Courtland spends the next sixteen years buried in guilt and remorse. Psychotherapy does not do much good. In 1975, Court(as he is known as) is finally persuaded to take a vacation in Italy where his firm conducts business. His partner(John Lithgow, who does a great job speaking Italian with a New Orleans drawl)goes with him. Court goes to a huge,beautiful, cathedral where he makes a heart-rendering, earth-shaking, discovery. All through the movie, care must be taken to carefully observe the paintings, whether they are in the cathedral or in a house. They all have meaning. There are art students in the cathedral who are restoring paintings that have been damaged during a flood(A second chance for the works of art). One of the students,a young woman, bears an uncanny resemblance to Court's dead wife. Court returns later with his business partner who is shocked by the resemblance of the woman. The musical score during these scenes are hauntingly beautiful and tell the story of a man who has awakened from a nightmare of self-reproach. Court meets the student, Sandra(Geniveve Bujold,one of the most beautiful actresses in the world) and takes her to lunch. Lunch turns into dinner and a relationship develops. Court falls madly in love with her. He is alive for the first time since 1959. Court returns with her to New Orleans and announces that he is going to marry her. His friends try to talk him out of this whirlwind romance and give himself time to think about it. Court dismisses their advice and decides to marry Sandra the next day without his friends. Sandra reluctantly agrees. The next morning, Court finds that Sandra has been kidnapped. The ransom note is a copy of the 1959 ransom note. This nearly drives Court info insanity and he decides that this time he will do the ransom right--but will he succeed? The rest of the movie is a frenzy. The last two minutes of the movie should not be viewed by anyone with a heart condition. It is that intense. I cannot explain further because the movie is not only a love story and thriller, but also a mystery. Brian DePalma was a genius for directing this movie. There are several scenes in this movie where the camera rotates around a character, painting a picture of an unsteady state of mind. You can see the same cinematography and effect in the 2005 movie, "Flightplan", with Jodie Foster. Both movies have the same portrayal of one who is desperately cares for a loved one and is dealing with intense guilt from the past. Both movies end in an airport with the main characters doing exactly the same thing, which I cannot reveal without ruining the ending of the movies. You must find a copy of "Obsession" and view it because it is like no other movie--even though some have compared it to Hitchcock's movie, "Vertigo".

No fear of heights

[TBJCSKCNRRQTreviews · 7/10 · 11 July 2010]

It's impossible to talk about this for very long without dealing with the elephant in the room. Yes, De Palma, as several other talented directors, is a fan of Hitchcock(and this lives up to his style well, without being a copy), and yes, aspects of this do bear a striking resemblance to Vertigo. Neither of the plots hold up to close scrutiny yet are compelling and keep you wanting to find out more, the reveals are gripping and the focus is on the emotion. The well-done, mysterious scores are done by the same composer, if it's a tad bombastic here. Both starring ladies are attractive; Bujold's performance is stunning, Novak is the greater beauty. Stewart surprised in an unexpected role, Robertson(who I've barely seen in anything else) is bland without being boring. The theme of obsession is important in them. With all of that said, this is different, and ought not to be regarded as a mere remake(one was not, and is not, necessary). Alfred chose to be angry; I think it would have been fitting for him to be proud. As far as tributes to him and his work go, this is among the best. Florence is haunting in this. The build-up of mood and atmosphere, leading to the inevitable and remarkable climax, is gradual but it pays off. Let this absorb you. It possesses a dream-like quality that stays with you. What there is of suspense and tension is effective, and this keeps you engaged. The acting is good for the most part. Lithgow's convincing accent and his unflattering moustache balance each other out. This is well-edited and the cinematography is nicely done. The FX are decent(there aren't enough for this to be a bother; this is subtle and doesn't try too hard). This is one of the seven pictures by Brian I've watched, the others being Carrie, The Untouchables, Scarface, Snake Eyes, Mission: Impossible and Black Dahlia. There is disturbing content in this, and not everyone will be comfortable with it. The DVD comes with interesting trivia(note that it spoils the movie), a trailer for this and a bunch of others, and a 36 second photo gallery. I recommend this to any fan of either skillful film-maker. 7/10

**** out of ****

[kyle_c · 8/10 · 17 November 2002]

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.

The plot thickens!

[sol-kay · 7/10 · 18 February 2010]

***MAJOR SPOILERS*** With both his wife Elizabeth and 9 year old daughter Amy, Genevieve Bujold & Wanda Blackman, kidnapped and held for a $500,00.00 ransom a frantic Michael Courtland, Cliff Robertson, will do anything in his power to get them released even give into their kidnappers demands. Told instead by Police Inspector Brie, Stanley J. Reyes, to let his New Orleans police rescue them Michael allows a homing device put into the briefcase with the $500,00.00 of his real-estate development firms money to track them down. The plan goes terribly wrong with the kidnappers finding the device-which wasn't hidden at all but right in front of them when they opened the briefcase-and in being chased by the police they end up crashing into an gasoline delivery truck killing themselves together with Elizabeth & Amy.

It's now 16 years later-1975-and Michael still hasn't gotten over his wife and daughters deaths and has been under psychiatric care all that time. What Michael had also done is erect a massive monument to his wife and daughter that prevented any real-estate being developed into luxury condos on the Pontchartrain Estates outside the city of New Orleans that he and his good friend and business partner Robert Lasalla, John Lithgow, own. Going on a leisurely business trip to Florance Italy Lasalle talks the reclusive Michael into tagging along with him for some R&R, rest and recreation, that he so desperately needs.

As things turned out Michael's trip to Florence was anything but uneventful for him. It was there at a local 13th century cathedral, where in fact he met Elizabeth after the war, that he spotted young Sandra Portinari, also played by Miss. Bujold, who's the spiting image of his long deceased wife Elizabeth! With his mind already seriously damaged over Elizeabth death the sight of her look-alike twin Sandra made it short circuit! Like a man totally obsessed the glassed eyed and zombie-like Michael went after Sandra who's young enough to be his own daughter not leaving her along for a moment to the point where his friend Lassale almost wanted to have him committed before he ends up doing something that can land him behind bars.

This crazed obsession finally has a very confused and at the same time impressed, in Michael having the hots for her, Sandra give in to him and accept his proposal of marriage to her! Now back home in New Orleans and with the big wedding-with some 200 invited gusts-just days away Sandra is kidnapped and held hostage for the same amount of randsom-$500,000.00-that Michael's wife and daughter were some 16 years ago!

**SPOILERS*** By now it should have become very apparent to Michael that somethings not quite kosher, besides the shrimp gumbo and pork ribs he's been eating, in what's been going on since he first met Sandra back in Florance Italy. Right down to her being kidnapped under the very same conditions that his both wife and daughter were back in the spring o 1959! Thinking that this is his second chance for him to redeem himself in saving his dead wife and daughter Michael again gets his friend Lasalle to give him- from their Pontchartrain Estates investments-a half million dollars to get his fiancée Sandra freed. As things turned the results are the same as before in getting the ransom money to the kidnappers which they never got, or did they?, but the ending in what eventually happens to Sandra is a whole lot different!

Very predictable surprise ending that Michael should have easily figured, like almost everyone else watching did, out but didn't until the last fleeing seconds of the movie. This could be explained in that Michael was so traumatized and confused over the events that lead up to it that he ceased to use his God-given brain properly but gave into his obsession instead! Not just about Sandra in being the reincarnation of his late wife Elizabeth but what he later suspected she was planning for him all this time even before he met her in Florance!***MAJOR SPOILER*** The films perfect ending not only brought Michael and Sandra together but ironically prevented their marriage from both happening and being consummated! If in fact that happened Michael as fragile and emotionally unstable as he was before would have ended up going straight off the deep end! WIth him ending up either being put away for life in a local loony bin or putting a gun to his head and blowing his brains out!

Handsome, but not really a mature work, nor an emotionally satisfying one

[moonspinner55 · 4/10 · 13 May 2005]

Cliff Robertson is the wrong actor to play a man mourning the death of his wife, obsessed over a new woman who strikingly resembles her. James Stewart pulled it off in "Vertigo", and believably conveyed a range of emotions of a man being pulled into an emotional quagmire kicking and fighting. Robertson is alert, but that's about all you can say for him. Director Brian De Palma swirls his camera around him and Genevieve Bujold, but gets nothing visceral going, no emotional involvement. The plot is fairly transparent, the cinematography and color processing are poor, and the supporting cast fails to add much to the low-keyed melodrama. De Palma wanted his own flair and showiness to be the star attraction here, but his languid, surreal mood seems merely plodding, and his obvious regard to the style of Hitchcock isn't made appealing to us. ** from ****

Stunning and mesmerizing with solid acting performances

[eliz_hawk · 9/10 · 19 May 2013]

I have yet to see a film that Cliff Robertson , John Lithgow and/or Genevieve Bujold do not shine. And this is yet another example. Stellar actors. From start to finish this extraordinary film takes the audience on a mesmerizing journey. I vividly remember seeing this film with a family member in the 1980's , just the ending of the film, and without a doubt this would have to be one of the most moving scenes I've ever encountered. I dare anyone to watch this film and not be moved at the finale. Many modern movies have over-the-top special effects and minimal acting , where the audience is left deflated since they weren't able to connect with the characters. Here we have minimal special effects and stellar acting all around , as well as high quality musical composer Bernard Herrman.

A lot of Brian da Palma's other films are overly laden with violence and gratuitous scenes, and yet somehow this film, Obsession, is an example of how you can make a highly engaging film that mesmerizes an audience WITHOUT any explicit material. I highly recommend this film as de Palma's best.

Possession obsession

[Lejink · 7/10 · 27 November 2009]

An early, eerie, unsettling film from Brian De Palma, here just about getting his stylistic skills down-pat before his commercial breakthrough with "Carrie". I remember seeing this film not long after it was first released and it staying in my mind for a long time afterwards - this most recent viewing will have the same effect even if time does show up some of its deficiencies.

The film nods to Hitchcock's masterpiece "Vertigo" in many ways - Like James Stewart's Scotty Ferguson, Cliff Robertson here portrays a man so devastated by loss of a loved one that he goes to extremes to replace her with a living breathing substitute, expected to subsume her individuality and identity to his will. There are other Hitchcock motifs on board, like the utilisation of a prominent portrait of Robertson's wife and daughter, the insertion of an old church as a key location and of course, most obviously, Hitch's composer-in-residence Bernard Herrman's sweeping, almost suffocating orchestral score which seems to overlay nearly every scene. The famous Grace Kelly scissors scene from "Dial M For Murder" also gets a look-in when Robertson dispatches in self-defence his treacherous business partner-cum-friend John Lithgow.

De Palma's work here is highly stylised, with the whole possessing a dream-like quality, with smooth tracking shots the norm, culminating in the final revolving shots of Robertson and his reunited daughter at the conclusion as Herrman's music swells ever louder. The plotting is very complicated however and at times hard to swallow. The inference of Robertson's unwitting incestuous attraction to his grown-up daughter by the end is down-played but still disturbs plus it seems unlikely that bad guy Lithgow would go to such extremes to wrest control of the company away from long-time partner Robertson, especially over such a long period of time. But hey, I'm pretty sure that the plot to "Vertigo" has more than a few loose ends and unbelievable devices and while De Palma's film can't claim to be the cinematic great that "Vertigo" was, we have to remember the difference in the experience, knowledge and okay, skill of the two directors at the respective helms. Maybe De Palma very often was the Oasis to the Beatles if I can bring in a musical analogy but that shouldn't deny De Palma his due. At the very least he made near Hitchcock-class thrillers well into the 80's when the Master had long passed on

The acting is solid by all the players, especially Robertson in the key role as the grieving, driven widower unable to move on with his life until he has atoned for his earlier error in judgement. Perhaps John Lithgow is just a little too much cartoonish as the Southern gentleman baddie - he could almost be the template for JR Ewing from "Dallas", even down to the clothes.

This particular film was made only a few years after another haunting thriller of death loss and memory set in Italy, Nic Roeg's superior "Don't Look Now" with both films, like the best (or worst) of dreams, staying with you long after you've woken up.

De Palma's disappointing answer to Vertigo

[Leofwine_draca · 4/10 · 18 June 2013]

OBSESSION, Brian de Palma's answer to Hitchcock's VERTIGO, is the most disappointing film I've seen from the director yet. Despite his steadfast direction and some not-bad performances from the central actors, this is a huge letdown of a film, purely due to the film-flam nature of the storyline. The truth is that it just doesn't hold together under close scrutiny. The whole plot hinges on a conspiracy of sorts which is so ridiculous, so unbelievable, that it could only appear in a movie.

The story opens with ageing Hollywood heartthrob Cliff Robertson losing his wife and daughter during a kidnapping attempt. So far, so good. Unfortunately, the story then cuts to twenty years later and loses any of the focus or interest it had previously generated. It becomes a cheesy, '70s-era romance that goes nowhere, taking an age to build to that aforementioned ridiculous climax that asks the audience to swallow a wholly unbelievable plot. It's impossible.

Robertson is passable as the lead actor, but he never lights up the screen in the way a Stewart, Grant or Peck would have done. He's definitely second-rate material. Genevieve Bujold, as the subject of his affection, is better, but not as good as Margot Kidder in de Palma's previous SISTERS. John Lithgow is a disappointment in the acting stakes, especially given his performance in the much better BLOW OUT. All in all, this is the most disappointing de Palma film I've watched yet, at least up until his work in the mid-'90s.