christopher-underwood An audacious movie in that we, as viewers, are as out of the loop as Cliff Robertson and that with its many allusions to Vertigo should have the services of the same composer, Bernard Herrmann. It is a powerful and emotional tale told in much the same tone as the Hitchcock film and I find it just as moving. Robertson, however, is no James Stewart and although doing well early on just doesn't seem at ease or convincing as the lovely Genevieve Bujold's lover. Maybe it was the incestuous implications that unnerved him, though I understand Columbia insisted on making the marriage/lovemaking footage, a dream sequence. Part of the power of this film is, inevitably the comparison with the Hitchcock film and the continuous reminder of it through the wonderful score that is so reminiscent of the early one. Plenty of twists and surprises, some beautiful cinematography and it is always good to see Florence on film, even in the rain.

Blake Peterson Brian De Palma doesn't believe in realism: he believes in cinema, in the sweeping gestures of yesteryear film noir. His "Dressed to Kill" was a chromium shaded exercise in thriller style fixated on its look and feel; "Body Double" characterized itself with long-tracking shots and grimy excursions into the underground metropolises of entertainment. In "Obsession", it is made clear that De Palma isn't playing it cool this time around; he's taken with the slow-motion breathiness of "Rebecca" and "Vertigo", concentrated less on spreading a silvery sheen and more focused on winsome melodrama. "Obsession" is not as successful as De Palma's other style-over-substance pictures (most released in the 1970s); being slippery and sleazy is his strong suit, and the film is more prone to melting its surroundings with sweaty psychosexual entanglements. Not a problem -- "Obsession" is far from a failure -- but its forays into the absurd have a more lurid effect than a stylistically sexy one. The film begins in 1959 at the anniversary party of Michael (Cliff Robertson) and Elizabeth (Geneviève Bujold) Courtland. They've been married for a decade, and still intact is their devotion to one another. But the harmonious symphony that surrounds them suddenly turns ominous when it is discovered that the butler is carrying a gun in his pocket. Later that night, Elizabeth, along with their daughter, are kidnapped, ransom money demanded the next day. A rescue mission follows, but it is too late: the kidnappers botch the plan, resulting in the death of Elizabeth and the child. "Obsession" then jumps to 1976. Michael is still not over the tragedy, mourning eternally. "He lives in 1959," a concerned friend notes. Then, on a business trip to Italy, his life takes a turn for the better (and the completely insane). While visiting the church that he first met his wife, he sees a woman painting for a restoration project. But it isn't just some woman: it is his wife, or at least her double. Of course, he becomes obsessed, obsessed with turning her into his late wife, that is. He takes her back to America in hopes to get married, but just as things seem too good to be true, De Palma and his screenwriter, Paul Schrader, rip our throats out with a number of batty plot twists. Ludicrous as it is, I enjoyed "Obsession". Sure, it comes on to you like a "Vertigo"-loving film historian, but its madness is created by a logical, daring auteur better than his material. De Palma matches the over-the-top aura with deceptively over-the-top camera-work, distinguishing art from human drama through pulsating close-ups, strained slow motion sequences, and darkened, menacing angles. Without De Palma's aesthetically bizarre eye, perhaps "Obsession" would merely be ludicrous melodrama instead of stylish ludicrous melodrama. Even then, the style isn't quite overbearing enough for us to ignore the unbelievable story. The conflict asks for no questions to be answered, to leave things enigmatic as to make the romance all the more operatic and fantastical. But its eventual (and disturbing) decision to end in a way that can be explained is more disappointing than one would expect. "Obsession" is the kind of film that begs to be left alone in an unanswerable universe a la Lynch. If only it would do the smart thing and retain its intrigue until we can hardly bear it.

Spikeopath 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

Leofwine_draca 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.