OBSESSION

US, 1976, 98 minutes, Colour.
Cliff Robertson, Genevieve Bujold, John Lithgow, Sylvia "Kuumba" Williams.
Directed by Brian De Palm .

Obsession is an atmospheric thriller which may or may not draw you in. If not, it will seem a lengthy exposition of a mystery which the hero should have understood at once and ended the film. If you are drawn in, you will enjoy a measured psychological mystery, obvious in solution to you perhaps, but not to the hero who has to experience a re-living of his love for his kidnapped and murdered wife and a cruel betrayal and disillusionment. It is also Brian De Palma's further homage (after Sisters) to Hitchcock (especially Rebecca and Vertigo), but it stands well on its own. Cliff Robertson and Genevieve Bujold are excellent in the leads.

1. How is this film best described? Mystery, suspense draw, romance, crime drama? The particular conventions of each genre? How well were they blended?

2. The significance of the title, the camera's creating the impression of the actor's obsessions, audience participation in this obsession? The application to Michael Courtland, to his daughter, to Robert?

3. How effective was the structure of the film: the 1959 episodes with the precision of dates, their status as memories, the transition to the present, the build-up of coincidences, identities of personality, the moments of revelation and the blend of hysterical dreams with reality, discovery? Critics complained that the mystery was evident. Is this criticism justified? Was it rather the audience waiting for Michael Courtland to discover the truth? Breaking through his obsession?

4. The appropriate use of Panavision, colour, Italian settings in Florence, the contrast with New Orleans and its modern look? America and Italy? The various orchestrated themes of the musical accompaniment? Thematic comment on characters and incidents? The fluid camera motion? The creation of moods by camera movement? The build-up and sustaining of atmosphere? The homage to Hitchcock films: Rebecca and the opening, Vertigo and identities, the Dial M For Murder murder?

5. The response to the opening party, the introduction to the mysterious house, the gliding and the dancing, Michael. and Elizabeth and their anniversary, the friends, the praise, Bob and his influence, Amy and her love for her father, dancing with him, the end of the evening and its placid nature, lovemaking? The atmosphere and audience response to this? The basis for the obsession?

6. The contrast with the hint of the gun with the waiter leading to the kidnap, the brutality of the taking away of wife and child, the ransom note, holding the hostages, the impact on Michael, the failure of the kidnap, the chase and the deaths? The details of Michael's collecting the money, going on the boat, throwing the money, the fact there was no money, the radio transmitter etc.? The violence and movement contrasting with the opening?

7. The role of the police, the newspapers, Bob and his support?

8. How well did the film create the start of the mystery with the sequences at the cemetery, Michael and his grief, the transition to 1975 at the tomb?

9. Audience response to the change of pace in the preparations for the trip to Florence, the build-up, the tour? The ominous return to the church photographed during the credits? The slow ascent of the steps? Memories for Michael, the mystery of the encounter with Sandra? Michael's reaction, the seeming normality of Sandra's response and the credible explanation of why she was there? Bob's reaction and the irony of its later hypocrisy?

10. What was the effect of the encounter with Sandra? Michael re-living his love for Elizabeth and his obsession? Trying to make Sandra walk like his wife, sharing meals? The significance of the visit to the dying mother and her urging to marry? The effect on both? Was Sandra's performance credible in the light of later revelations? When did the audience suspect the truth?

11. The transition from the atmosphere of Florence to the modern atmosphere of New Orleans? Business decisions and delays on Michael's part, the effect on Bob? The preparations for marriage? The effect on each of them? Michael and his happiness and a second chance? Sandra and her being welcomed home.. her wandering of the house, the discovery of her mother's room. of the papers. of her gradually growing like her mother? To what purpose?

12. The seeming normality of Bob's reaction, Jane& calling the doctor. the doctor's intervention? The pressures on Michael?

13. Michael's decision to run away, the private marriage. the significance of his dream the night before. his second chance?

14. How credible was the repetition of the kidnap? The repeat of the situation the note. the searching out of the money? The repetition of the behaviour of going on the boat, throwing the case? The effect on him? The truth?

15. How melodramatic was the showdown? Bob's revelation of the truth and his vindictiveness. the contrived killing?

16. The contrast with Sandra; was her disappointment at there being no money traumatic for her? Her hysterical re-living of the original kidnap? Her memories of her father not wanting to give the money for her mother and herself? Her hatred of her father? Bob's intervention? Her going on the plane? Her living in her memories? Her grief and her desire to confess? The letter she wrote on the plane? Was her attempted suicide credible?

17. How did the audience empathize with Michael at the build-up of tension at the end? His decision to pursue Sandra? His vengeance? His reaction when the plane was returning? Audience expectation as he ran towards his daughter with the gun? The expected violence and the transition to the tender love? The swirling camera and the relief on Michael's face? A satisfactory climax to the film?

18. The quality of the film as a psychological drama, thriller, study of character and behaviour, motivation, atmosphere? The issues of marriage, business, love?