Starring Cliff Robertson, Genevieve Bujold, John Lithgow
Throughout his early career, de Palma was either referred to as a director who made homages to Hitchcock, or was blatantly ripping the master director of thrillers off. And its a very fine line de Palma walks, particularly in this melodrama that is an obvious reference to both Rebecca and Vertigo. In fact, Hitchcock himself was reportedly furious that de Palma’s Obsession was so incredibly close to Rebecca. And its interesting to note that Hitch’s trademark composer, Bernard Herrmann, once again composes the score to a de Palma thriller. So how does this furiously melodramatic Hitchcock knock-off stack up?
The story opens in New Orleans in 1959, where land developer Michael Courtland’s wife and daughter are kidnapped and held for ransom. Courtland’s business partner, Robert Lasalle helps him raise the money, but at the last minute the police decide to drop a phony suitcase with a homing device in it. The kidnappers find out they have been duped and escape their hideout with police in pursuit. Courtland watches from the back of the lead detective’s car as the vehicle carrying his wife and daughter explodes in a ball of flame. Jump to 17 years later, and Courtland is still haunted by this incident. He takes a trip to Italy where, while touring a cathedral, he happens upon a woman who is the spitting image of his late wife. A romance begins, but Courtland’s intentions sink further and further into reshaping this new woman into a facsimile of his wife.
The soundtrack to this film never lets up. From the opening title to the closing credits, the music is not present maybe three times, and those are only for a minute or two. The rest of the film is filled with the rise cry of despair from a choir or the operatic dissonance of a church organ. The music compliments the plot of the film which is an over the top, melodramatic gothic tragedy. At points the melodrama can become so overblown its laughable and the actors play along with this tone. John Lithgow in particular is some times comical with Foghorn Leghorn-esque take on a New Orleans businessman.
Courtland’s wife, Elizabeth feels like a non-character. She appears on screen for all of 6 minutes and never speaks and so it was hard for me to buy into Courtland’s undying love for her. Though, this could be an intentional choice, by not making her an actual character it passes judgment on Courtland. At one point in the film, Sandra, the new wife discovers Elizabeth’s journal and learns that her predecessor saw Courtland as uninterested in his family, and more concerned with his land developments. The final brutal twist of the film operates on two levels, as well, and recalled the 2006 South Korean mind twister of a film Oldboy. Courtland ends up in an embrace that can be read as a beautiful denouement or as a disgusting and bizarre finale.