Every film that has ever been nominated for an Academy Award in any category. Enjoy!
New Orleans businessman Michael Courtland’s life is shattered when his wife and daughter are tragically killed in a botched kidnap rescue attempt. Many years later whilst visiting Italy he meets and falls in in love with Sandra Portinari, who bears a striking resemblance to his wife.
DePalma's Hitchcock films >>> DePalma's Gangster films.
What's good film criticism anyway if not love distorted by memory and private fears?
Brian, ¡cómo te gusta el cine y cómo te la suda el verismo!
Brian DePalma must of found one of Hitchcock's thrown away scripts and tried to out do him.
It is very similar to a Hitchcock film but very below par.
Maybe it should have been shortened down so we get the twist earlier and it might have worked better.
Brian's direction is superb with plenty of background shots or close up's between each character right in front of the camera and behind.
I won't be coming back to this is a hurry and give me a Hitchcock movie any day of the week.
LA DONNA CHE VISSE DUE VOLTE
I've got a problem with John Lithgow.
The thing is that whenever he's in a film where he starts off as a good guy, I just spend the whole film waiting for the moment where he does something despicable. Because it WILL come. It has to. Because he's John Lithgow and he's ALWAYS a bad guy.
Now I'm not saying whether he undergoes that transformation in Obsession. That isn't even the point. The point is that I've seen him play so many villains that I thought I was going to sit watching Obsession thinking to myself, "Yeah yeah, John, you're a lovely guy, now just stab Cliff Robertson in the face and get it over and done with,…
You can definitely tell this was inspired by vertigo maybe a little to much even. I am a pretty big fan of de Palma and this is for sure one of his minor works. It lacks the explotivite nature that his great films have. This one is more hitchcockian. John lithgow was pretty great in this movie but I didn't care about the leads at all. The Bernard Herman score is pretty solid to. Overall if your a de Palma fan I would say check it out but he has much better thrillers in his filmography.
Chock full of classic De Palma-isms but, also, proof that he didn't hold off until the 90's to start making bad films.
Overshadowed by De Palma’s own cult-classic CARRIE (1976) in the same year, OBSESSION ostensibly is De Palma’s homage to Hitchcock’s VERTIGO (1958) about a man, who is obsessed with a woman who is (presumably) dead, is given a second chance from her doppelgänger with a sinister scheme lurking behind. Although De Palma’s execution lacks the professional attentiveness to the details, e.g. the obtrusive anachronism of the opening scenes supposed happening in the 1950s, thanks to Schrader’s uncanny screenplay; the atmospheric craftsmanship of D.P. Vilmos Zsigmond (1930-2016), the master-hand who has just left us in the 1st January; and Bernard Herrmann's (the original composer of VERTIGO) Oscar-nominated solemn score, which is grandiosely awe-inspiring right from the ominous opening credits, OBSESSION is…
Rewatched for Vilmos.
Always want to like it better. It's good, and so much to like, but I can never get beyond just enjoying the formal qualities. It would take a while before I think De Palma could incorporate them 100% into a film without losing the heart (and maybe only REALLY succeeded with BLOW OUT). Admirable, without really being good, but still beautiful enough I still can't knock it too much.
LA DONNA CHE VISSE DUE VOLTE
Fine I guess - as Vertigo riff it's only ok, a bit too postured and vastly less interesting that the original, but certainly well made and striking in parts. If anything, failed experiments like this help to illustrate the genius of Hitchcock's vision even further. There's stuff to like, and the campy ridiculous final act was brazen and dumb enough to win me over.
Cliff Robertson is damn good in this. Perfect Jimmy Stewart for the 1970s.
Neat Vertigo riff that becomes its own alluring beast upon the 'return to America' only to completely shit the bed with the intentionally camp and direly executed psychosexual twist. Totally sucked the life out of the film, though the cinematography of the airport sequence momentarily revives it just before the credits roll.
Hey, at the very least it's much better than Dressed to Kill.
An alluring film in the heat of the climate of the wilderness of the south and of even Italy, this film can have the potential (especially out of De Palma) to use it's power for a better plot direction. It is however a cheap soft lighted shot of things that has an on and off beat of intrigue. Through my view, I feel this film has an air that could've been used for a powerful tornado but yet this rough dust of a film lays there and picks up and goes back to the ground in a mild manner.
a list that is trying to contain every horror film made that is not lost and is found on the…
From his book Essential Cinema.
A huge thanks to everyone who added films, helped me find films with alternate titles,…