IMDb > Love Object (2003)
Love Object
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Love Object (2003) More at IMDbPro »

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Love Object -- US Home Video Trailer from Lion's Gate

Overview

User Rating:
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Director:
Writer (WGA):
Robert Parigi (written by)
Contact:
View company contact information for Love Object on IMDbPro.
Release Date:
8 September 2004 (France) See more »
Genre:
Tagline:
Some people are just made for each other.
Plot:
The twisted tale of Kenneth, socially insecure technical writer who forms an obsessive relationship with "Nikki"... See more » | Add synopsis »
Plot Keywords:
Awards:
5 wins & 2 nominations See more »
User Reviews:
A fantastic subject See more (45 total) »

Cast

  (in credits order) (complete, awaiting verification)

Desmond Harrington ... Kenneth Winslow

Melissa Sagemiller ... Lisa Bellmer

Udo Kier ... Radley

Rip Torn ... Novak

Robert Bagnell ... Martin

Brad William Henke ... Dotson (as Brad Henke)

John Cassini ... Jason

Camille Guaty ... Counter Girl

Michael Peña ... Ramirez
Edie Mirman ... Saleswoman

Lyle Kanouse ... Stan

Ellen Greene ... Typing Supervisor
Opal Anchel ... Doris
John Joseph Burns ... Porn Clerk
rest of cast listed alphabetically:
Bryan Crump ... Mysterious Delivery Guy (uncredited)

Directed by
Robert Parigi 
 
Writing credits
(WGA)
Robert Parigi (written by)

Produced by
Alessandro Camon .... executive producer
Bruce Wayne Gillies .... line producer
Kathleen Haase .... producer
Lawrence Levy .... producer
Chris Miller .... post-production producer: Visionbox Media Group
Edward R. Pressman .... executive producer
John Schmidt .... executive producer
 
Original Music by
Nicholas Pike 
 
Cinematography by
Sidney Sidell 
 
Film Editing by
Troy Takaki 
 
Casting by
Sig De Miguel 
Amanda Mackey Johnson 
Cathy Sandrich  (as Cathy Sandrich Gelfond)
Wendy Weidman 
 
Production Design by
Trae King 
 
Art Direction by
Philip Godwin 
 
Set Decoration by
Beth Wooke 
 
Costume Design by
Victoria J. Auth  (as Victoria Auth)
 
Makeup Department
Tracy Wilcox Gillie .... makeup department head (as Tracy Wilcox)
Lorraine Martin .... makeup artist
Brian Penikas .... department supervisor & sculptor
Brian Penikas .... special makeup effects artist
Richard Redlefsen .... key prosthetic makeup artist
 
Production Management
Mimi Gillies .... production manager
Tony Murphy .... post-production supervisor: Visionbox Media Group
 
Second Unit Director or Assistant Director
Jasmine Alhambra .... second assistant director
Otto Michael Penzato .... first assistant director (as Otto Penzato)
Jon-Paul Velasquez .... second assistant director (as J.P. Valasquez)
 
Art Department
Jorge Borrelli .... property master (as Jorge Gonzalez Borrelli)
James Clark .... on-set dresser
Keith Evans .... construction coordinator
Renee Reeser .... storyboard artist
 
Sound Department
Pembrooke Andrews .... sound editor
Robert Backus .... boom operator
James Dehr .... sound mixer
Todd Morrissey .... adr mixer
Brad North .... sound designer
John Rotondi .... sound engineer
Cathie Speakman .... supervising adr editor
 
Special Effects by
Nicole Michaud .... production coordinator: Makeup & Monsters
Brian Penikas .... makeup & love doll effects
Brian Penikas .... special effects department supervisor
 
Stunts
Christopher Doyle .... stunt coordinator (as Chris Doyle)
Lisa Hoyle .... stunt double
 
Camera and Electrical Department
John Earl Burnett .... director of photography: second unit (as John Burnett)
Janet Tracy Keijser .... still photographer
John T. Martin .... key grip
Andrew Robison .... best boy grip
Tony Rudenko .... playback operator
Kelly Travis .... camera loader (as Kelly Richard)
 
Casting Department
Edward C. Mendevil .... extras casting: pre-production
 
Costume and Wardrobe Department
Nazhat Hester .... set costumer
 
Editorial Department
Randy L. Anderson .... color timer
Shannon Baker .... post-production assistant
Angela M. Catanzaro .... assistant editor
Jonathan Miller .... post-production services (uncredited)
 
Music Department
William Cawley .... music editor
 
Transportation Department
Matthew Ballard .... transportation coordinator
 
Other crew
Emily Aaronson .... key set production assistant
Carla Braswell .... script supervisor
William Clark Coit III .... location manager (as William Coit)
Jonah Goldstein .... production assistant
S.J. Granai .... craft service
Gary Kauffman .... legal counsel
Lizette Kilmer .... production coordinator (as Lizette Jaimes)
Brendan MacDevette .... production assistant
Tony Rudenko .... computer graphics programmer
Jessica Shannon .... production accountant
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for violence, sexuality and language
Runtime:
Germany:84 min (Fantasy Film Fest) | USA:88 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
During the kidnapping scene, Melissa Sagemiller's fall was real.See more »
Goofs:
Revealing mistakes: The statue that Lisa hits Kenneth with bounces slightly when it falls on the ground, obviously made of rubber.See more »
Quotes:
Kenneth Winslow:Relationships come and go, but plastination is forever!See more »
Movie Connections:
References American Psycho (2000)See more »

FAQ

This FAQ is empty. Add the first question.
26 out of 29 people found the following review useful.
A fantastic subject, 12 March 2005
Author: Brandt Sponseller from New York City

Kenneth (Desmond Harrington) works as a technical writer--he creates user's manuals. He's good at his job but he has trouble emotionally connecting with others. At about the same time that Kenneth's boss, Novak (Rip Torn), hires an attractive temp assistant for him, Lisa (Melissa Sagemiller), Kenneth becomes obsessed with a lifelike sex doll named "Nikki". He gradually makes the doll appear as close as he can to Lisa. But when Lisa begins showing interest in him, it leads to complications and possibly disastrous consequences.

Writer/director Robert Parigi's Love Object is an exploration of various kinds of objectification, but in the wrapper of a psychological thriller/horror film. Although it is sourced in an actual object called "The Real Doll" (an expensive, life-like sex doll available via mail order/on the Internet), and it has filmic thematic precursors, from the good (Private Parts, 1972) to the not so good (Der Mann nebenan, aka A Demon in My View, 1991), as well as attitudinal/emotional precursors, ranging from Psycho (1960) to Boxing Helena (1993) to Office Space (1999), Parigi is much more tightly focused on objectification, not only when it comes to sex, but also as it imbues working life and to a small extent, private life, as well.

The first half hour of the film shows us Kenneth at his job. The office is bland and conformist, with white-collar employees sitting in similar cubicles as they crank out their soul-squelching work and desperately try to find anything to provide a spark of color or entertainment and help them get through their days. We can tell that Kenneth has been at it for a while, because he has the blankest look on his face. Parigi is showing us how this kind of work objectifies employees. They're just cogs in a wheel, alienated and alienating, chipping away at mostly meaningless crap, existing only insofar as they continue to feed the right objects to their fellow workers and the administrative machinery. (Can you tell I've worked one of those jobs before?) Once Lisa arrives, she's objectified as a tool to help production, only useful and existent as long as she fulfills that function. When she puts a kink into it by having an emotional outburst, she's threatened with exile. Emotions aren't allowed.

So it's no surprise, being socialized into such a work environment, that Kenneth fetishizes a literal object, "Nikki", which he often relates to via a user's manual on his computer. And it's no surprise that he transfers that conceptualization to Lisa. As the film progresses, Kenneth tries to make Lisa and Nikki more alike, sometimes working on one, sometimes the other. Long before they begin to unify, Kenneth shows signs that his alienation is leading to a loss of his rational faculties. He begins to believe that Nikki is alive, interacting with him and eventually threatening him. He later begins to conflate Lisa and Nikki while he's with Lisa. Obviously, this is a recipe for disaster, and what a delicious disaster Parigi gives us in the final section of the film.

Although relatively slow in the beginning, the pacing and suspense gradually intensify until the climax. The change is appropriate, as the film takes place during Kenneth's break with sanity. It's only slight quirks at the beginning, but by the end he's a full-blown psycho. That's not something that happens in the blink of an eye.

Parigi also works his theme of objectification into the residents of the apartment where Kenneth dwells. Even though they live together, sometimes right next door to each other, they think of one another more as functions. One person is the manager, another the cop. Kenneth, known as the "degenerate" to the cop, watches the manager (Udo Kier) fondling a woman in the hall, objectifying them as porno material (and there are also later scenes in a porno shop, a locale where objectification has long been an issue). The manager is shown at one point playing with dolls of his own--small porcelain figurines that he makes dance a waltz.

Of course, one need not think about these issues much to enjoy the film. Parigi has done a remarkable job making an independent, low budget artwork. It was shot on Super 16 and looks great. The production design is excellent (a real standout is when Kenneth is awarded an office of his own), and Parigi's direction is impeccable. You can easily enjoy the film from the thriller/horror aspect alone. On that end, the film is full of increasing tension, it's occasionally and effectively visceral, and it has a nicely surprising ending. Don't miss this one.

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Recent Posts (updated daily)User
what are you on drugs?? jazz_mraz
Completely Ridiculous.... sarbear82
Music pabloz
I would date a guy like Kenneth! BlueVelvet7609
Has anyone done a study of guys like this? CyrustheSoSo
The Worst film i have seen in years sebastiaanros
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