5.3/10
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3 user 2 critic

Private Obsession (1995)

Emanuelle, a world famous fashion model, is held captive by Richard Tate, a crazed fan. Richard wants her for himself but Emanuelle uses her assets to try and escape.

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Cast

Complete credited cast:
... Richard Tate
... Emanuelle Griffith
... Sam Weston
... Sergeant Jim Lytel
Lee Frost ... Jerry Turner
... Joan Harris
... New York Photographer
Kelly J. Hornbaker ... Phil
John Aitken II ... Peetie's Handler
... Kim
... Mr. 'T'
... Boutique Sales Director
Denise Gieser ... Boutique Model
... Estella (as Lilian Hurst)
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Storyline

Emanuelle, a world famous fashion model, is held captive by Richard Tate, a crazed fan. Richard wants her for himself but Emanuelle uses her assets to try and escape. Written by Josh Pasnak <chainsaw@mindlink.bc.ca>

Plot Summary | Add Synopsis

Taglines:

Almost a love story.

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for strong sexuality and language | See all certifications »
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Details

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Release Date:

7 March 1995 (USA)  »

Also Known As:

Entführt - Ein Fan läuft Amok  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
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Did You Know?

Goofs

Throughout captivity, Manny and Richard converse through the television monitor, as if they are looking at each other. The camera, however, is behind Manny, so Richard would only be seeing the back of her head, as she faces the monitor. He wouldn't be looking at her face. Also, when they show Richard at his console, there is no camera facing him, that would be televising his face into the room. The bathroom wall where the camera is hidden is an interior wall, so the camera would be sticking into the room, in order to be shooting into the bathroom. See more »

Quotes

Richard Tate: When you deal with Richard, you're dealing with style, class and elegance.
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Soundtracks

I'M YOURS FOREVER
Music and Lyrics by Dean Andre
Performed by Dean Andre
Courtesy of Dean Andre Productions
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User Reviews

 
An Exploitation Master's Sad Last Gasp

I realize Shannon Whirry was the main draw for "Private Obsession," but it was the director, the late Lee Frost, who was my reason for seeking this title out. Frost directed some of the grittiest and meanest grindhouse movies in the 1960s ("The Defilers," "Hot Spur," "The Pick-Up") and some of the more entertaining drive-in movies of the 1970s ("Dixie Dynamite," "Black Gestapo"). Even his hardcore films (most notably "Climax of Blue Power") were a notch above the usual porno fare.

But the fast-paced narratives, brutal violence and gritty style of Frost's earlier work aren't found in "Private Obsession," his last movie. Instead, it's just another humdrum direct-to-video erotic thriller, only it's not even that good. The story--about a psychotic male chauvinist (Michael Christian) obsessed with a famous fashion model/feminist icon(!)--should have been right up Frost's alley. After all, it's just a '90s update of "The Defilers." But his heart just doesn't appear to be in it this time. Even though Whirry's character is kidnapped and held against her will, there's no real tension or suspense. The torments inflicted on her are the equivalent of a bratty little kid locking his babysitter out of the house. The script, written by Frost, often meanders, with story points that appear made up on the spot, like when Christian's character inexplicably books a trip with a gay travel agent (Rip Taylor) to the Caribbean. I don't begrudge Taylor getting work, but his scene could have -- no, make that *should* have-- been left on the cutting room floor.

If Michael Christian's name rings a bell, he was titular Eddie in the notorious "Poor Pretty Eddie." In that movie he managed to be goofy, creepy and menacing. In "Private Obsession" he's just goofy (and 25 pounds heavier) playing the role as if it were written for William Shatner at his most desperate. As for Whirry, she's OK if a bit shrill at times, but most viewers won't be concerned about her acting. Though she gets topless periodically throughout the movie, the softcore action doesn't happen until the movie's final third. It really isn't worth the wait.

It's a shame that Lee Frost's last movie was this forgettable thriller. Other than its misogynistic attitude and the director appearing in a small role as a bumbling investigator, there's really nothing that distinguishes this as having been directed by Frost at all.


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