OBSESSION (1976)
Updated: Dec 10, 2022
A Well-Made if Predictable Story of Grief and Love
Grade: B
(**Possible Spoiler Alert!!**)
Obsession was Brian De Palma's last movie before his smash hit Carrie (1976) made him a filmmaker to be reckoned with, and it frequently gets overshadowed by much of his other work. It is the story of a man who loses his wife and daughter, finds a woman who looks just like his late wife, and becomes, as the title suggests, obsessed with her to the point that little else matters. Its story, unfortunately, takes on a trajectory that is distractingly predictable, especially to audiences who are aware of the director's inspiration. Nevertheless, its performances, musical score and emotionally-charged plot still make it an impressive film.
Cliff Robertson plays the man, Michael Courtland, and Genevieve Bujold plays both the wife and the woman who resembles her. They are celebrating their tenth anniversary in their New Orleans home when the wife, Elizabeth, and their daughter, Amy (Wanda Blackman) are kidnapped and held for ransom. The police stage a rescue, but the hostages and kidnappers are killed when the getaway car crashes into a gas truck on a bridge and falls into the river. Sixteen years later, Michael is still haunted by their deaths. While on a business trip in Florence, Italy, he visits the church where he first met Elizabeth and is stunned to see a woman working there who looks exactly like her. He starts a relationship with the woman, Sandra, and decides to bring her back to the States to marry her.
Michael's grief and guilt over the death of his family permeate much of the film. Robertson perfectly conveys this grief in an an effectively subtle performance. Hardly ever overplaying his emotions, he and director De Palma understand that the slightest expressions on a character can clearly convey how they feel. For Michael, it is often either a blank, solemn look when he is remembering his wife, or a warm smile when he is with Sandra. On at least two occasions, there is a closeup on his eyes, and we can tell exactly what he is thinking. Genevieve Bujold is also good, especially as Sandra, with whom Michael has great chemistry. Her character is much more mysterious, though. When she explores Michael's home in New Orleans, it is hard to tell why she is interested, although audiences might have a few ideas.
One of the most important features in the movie is the music by Bernard Hermann. The legendary composer had previously worked with De Palma for Sisters (1972), and here he has written a mournful score that perfectly emphasizes Michael's sorrow. A choir is often heard, lending a sort of requiem feel to the movie. Without this music, the movie wouldn't be nearly as powerful.
Despite these virtues, the film automatically loses points because of the predictability in its plot. De Palma was famous for being inspired by Alfred Hitchcock; Sisters took parts of its story from Rear Window (1954) and Psycho (1960). For Obsession, those familiar with Hitchcock's work would only have to read the synopsis to see similarities to Vertigo (1958). The script nearly makes it seem like it is going in another direction by effectively focusing on Michael's love for his late wife and his desire to marry Sandra. If this had been the direction the movie was going in, it might have been more unique. But then a third-act twist reveals that what audiences might have suspected early on is exactly what is happening.
While the twist itself may be underwhelming, the way it is presented is anything but. Through intense editing and flashbacks, a conspiracy of evil is brought to light, and it is accompanied by a horrified and devastated reaction by Sandra. The ending combines all the best parts of the movie-the performances by the two leads, the music, and the editing-to deliver an emotionally satisfying wallop.
Obsession is not exactly a surprising flick. It shouldn't be too hard for even the most average moviegoer to predict where the movie may be headed, and viewers who know about De Palma's fascination with Hitchcock may be distracted by how far ahead they are of the main character. But this doesn't make it a bad film. It still has some engaging characters and powerful music, and its story is quite moving. It might not be a major standout in the early years of the director's career, like Sisters, but it is still worth a look.
Director: Brian De Palma
Screenplay: Paul Schrader
Producer: George Litto, Harry N. Blum
Cast: Cliff Robertson (Michael Courtland), Genevieve Bujold (Elizabeth Courtland, Sandra Portinari), John Lithgow (Robert Lasalle), Sylvia Kumbaa Williams (Maid), Wanda Blackman (Amy Courtland)
Rated: PG
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