Stevecorp Don't listen to the negative reviews

Tacticalin An absolute waste of money

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

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

Paul Andrews Obsession starts in New Orleans in 1959 as businessman Michael Courtland (Cliff Robertson) & his wife Elizabeth (Geneviève Bujold) celebrate their wedding anniversary, after all the guests have gone home Elizabeth & their young daughter Amy are kidnapped & a ransom note is left. Michael calls the police but the kidnappers get away & in a pursuit crashes & explodes killing everyone inside, devastated Michael blames himself for calling the police. Fifteen years later while on holiday in Italy Michael decides to visit the Church where he first met Elizabeth & is startled to see a young artist named Sandra Portinari (Geneviève Bujold) who is the spitting image of Elizabeth, he becomes obsessed with Sandra & becomes convinced she is Elizabeth. After a brief romance Michael proposes & she agrees, traveling back to New Orleans & marrying Sandra is also kidnapped & a ransom note is left just like fifteen years ago...Directed by Brian De Palma he & screenwriter Paul Schrader apparently decided to make the film after watching Alfred Hitchcock's classic Vertigo (1958), originally titled Déjà Vu this is a rather far fetched thriller that is watchable as long as you don't think about the plot too hard. Split up into three sections the script tries to be clever but the twist's don't quite add up, Obsession starts off as a straight kidnap thriller & then turns into a fantasy romance & finishes with various twist's that are alright but a silly & never come across as well thought out. The main plot by the villain to get their hands on Michael's share of the business is rather complicated & relies on a lot of coincidence & things they could never predict to happen perfectly (Michael's reaction to Sandra in particular), wouldn't it have been easier to just kill him? Why admit everything to Michael? Why give him the briefcase full of money back? That sort of ruins a very complex plan that probably took a lot of time & effort to execute, doesn't it? At just over 90 minutes Obsession has a slow going middle third as Michael & Sandra fall in love & marry & the final twist isn't really worth waiting for to be honest. The character's are a bit dumb too, the cops who mess up the original kidnapping & Michael who must be really gullible to fall for Sandra particularly the way she just instantly falls for him too. Also, the final twist led me to consider the possibility of incest here, surely Michael & Sandra would have had sex during their swift romance? Think about it.Well made as you would expect from De Palma the soft focus watercolour photography is quite nice although that last shot where the camera spins round for what seems like an eternity made me feel a bit dizzy. No violence or nudity to speak of Obsession is tame as far as 70's thrillers go. The locations are nice enough & it's polished but not particularly memorable.With a supposed budget of about $1,400,000 this was filmed in New Orleans & in Florence in Italy. The acting is alright, John Lithgow has a very silly accent throughout while Robertson is workmanlike, Bujold is OK & looks quite nice in a dual role that's basically the same person.Obsession is meant to be a twist filled thriller, the slow middle section doesn't help neither do some poorly thought out twist's, decision making & motivations. Could have been worse but it could have been better, both De Palma & Schrader have done much better things than Obsession.