Great artists don't borrow, they steal. Conceived by Schrader and De Palma after a late night screening of VERTIGO, this is more than just homage. OBSESSION exposes their lifelong predilections and is an early indicator of the filmmakers' artistic bluster. Vilmos Zsigmond’s cinematography and Bernard Herrmann’s score help keep the fragile truce between love and insanity, as tenderness deforms into kinkiness and back.
A bombastic score by Bernard Herrmann propels this straight-Hitchcockian thriller. A less misogynistic male lead is a welcome change from it's inspiration - though if you've seen Vertigo and Oldboy, you'll see the end coming way sooner than the reveal.
A wonderful and distinctive picture which truly comes to life when the action is transplanted from New Orleans to Florence (a nocturnal journey through the city's deserted streets is one of the film's real highlights). The direction is striking whilst a towering score from the great Bernard Herrmann lends the film an almost delirious quality.
Vastly underrated Vertigo revisiting.
Beautifully shot by Vilmos Zsigmond, haunting score by the great Bernard Herrmann.
The ultimate De Palma homage to Hitchcock, ending up in a truly heartbreaking way.
It's impossible, or at least ill-advised, to review this without mentioning Vertigo, since Obsession borrows not only the general plot, themes, and structure, but certain scenes as well (not to mention Bernard Herrman, who can turn anything dreamlike). But it rises above a mere homage thanks to De Palma's visual artistry and a weirdly compelling Freudian case study on different kinds of love.
A cautionary tale on why it is essential to go to the movies. You see, had Michael Courtland frequented movie theatres in 1958 he'd have seen a nifty little mystery film called Vertigo and figured out in 1976 that the whole wife-coming-back angle was a con job. Granted it hadn't topped Sight & Sound till '72. Still, tells you something about the profits of being even an average Joe movie buff.