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Object of Obsession (1994)

R | | Drama | 15 May 1994 (France)
A divorced woman seeks new sexual adventures in this erotic tale. What she doesn't count on is that her new lover will take her as a hostage and hold her against her will in an abandoned, ... See full summary »

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(as Gregory H. Brown)

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Cast

Complete credited cast:
...
Blaze
...
Margaret
Elizabeth Whitcraft ...
Christy (as Liza Whitcraft)
Robert Keith ...
Harvey
...
Angie
...
Vicky
Alisha Das ...
Charlotte
Ashby Adams ...
Henry
Andrea Riave ...
Francine
...
Homeless Man
Jennifer MacDonald ...
Amy
...
Homeless Man
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Storyline

A divorced woman seeks new sexual adventures in this erotic tale. What she doesn't count on is that her new lover will take her as a hostage and hold her against her will in an abandoned, furnished warehouse. But is she really a hostage? It is revealed that after the first days, the door is never locked and she has always been free to go. After participating in several sexual adventures, including watching her lover have sex with another woman and having sex with another man whose face she never sees, she does leave. But after awhile, she does return. There she finds a series of tapes of previous exploits and evidence of who her lover really is. Tracing him to his home with wife and kids, she turns the tables on him. Written by John Sacksteder <jsackste@bellsouth.net>

Plot Summary | Plot Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for strong sexual content and sex-related dialogue | See all certifications »
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Release Date:

15 May 1994 (France)  »

Also Known As:

Das Objekt der Begierde  »

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User Reviews

 
OVERCOMES ITS AFFILIATION WITH SLEAZE.
20 November 2004 | by See all my reviews

Since its director's cinematic background is one of hard and soft core pornography, it would be capricious to expect a film of quality to be a result here, but such is indeed the case for this soundly made psychosexual melodrama that presents expected soft-core slow motion action that is less than many "mainstream" productions tender, and rather offhand as well, with the plot and a nice attention to detail the most significant elements, and with a canny decision made to keep the camera's eye as much as possible upon Erika Anderson, exactly the right place for it to be as she develops a character as victim of her own desires yet resilient enough to arrange a clever reprisal. Inferior sound mixing and a setup flaw in continuity mar the opening scene, but these are quickly overcome since the storyline, direction, camera-work and playing draw in a viewer, with Anderson portraying a frustrated recent divorcée, Margaret, who gambles upon commencing a relationship with a man who has telephoned her, ostensibly in error, with a result that their quickly formed amorous adventure becomes increasingly elaborate as Margaret discovers that she is headed for a threat of betrayal by both her new found lover and herself, leading to her decision to take radical action in order to regain self-command. Dark's direction is tight, with scriptor Brad Marlowe's dialogue often acute, the cinematography of Wally Pfister and the editing and montage under Bob Murawski are effective as is the interior design of this low budget piece, while classically flavoured scoring for cello, flute, and piano that accompanies most of the action is top-flight and appropriate, with most script weaknesses being handily overcome, generally by Anderson's skillful reading and the director's ability to leave fighting room for open signification. It is instructive to make a comparison between this undervalued work and Masumara's cultish BLIND BEAST, the latter notably inferior to the Dark item in its scenario, direction, and performing, with its spiraling and unhinged collapse into repugnant grotesquerie, whereas - - OBSESSION succeeds at its goal of sustained narrative momentum.


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