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商品の説明

圧倒的な映像テクニックと流麗極まりない音楽との結合が、
観客を別世界へと誘う心理スリラー

妻子を誘拐されたうえ事故で喪った男。事件から16年が経過したある日、彼は亡き妻との想い出の地で彼女と瓜二つの若い娘と出会う……。1950年代と1970年代、フィレンツェとニューオーリンズ。二つの時代と二つの場所が交錯しつつ、圧倒的な映像と音楽の奔流で織り成される倒錯した愛の物語。知性派ポール・シュレイダーの脚本を、技巧を凝らした演出でブライアン・デ・パルマが映像化した心理スリラーの異色作。

登録情報

アスペクト比 ‏ : ‎ 1.78:1
メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 英語
製品サイズ ‏ : ‎ 30 x 10 x 20 cm; 122.47 g
EAN ‏ : ‎ 4523215058773
監督 ‏ : ‎ ブライアン・デ・パルマ
メディア形式 ‏ : ‎ Blu-ray, ドルビー, 色, ワイドスクリーン
時間 ‏ : ‎ 1 時間 38 分
発売日 ‏ : ‎ 2011/9/24
出演 ‏ : ‎ クリフ・ロバートソン, ジュヌヴィエーヴ・ビュジョルド, ワンダ・ブラックマン, ジョン・リスゴー, スタンリー・J・ルイズ
字幕: ‏ : ‎ 日本語
販売元 ‏ : ‎ 紀伊國屋書店
ASIN ‏ : ‎ B005ADK1TW
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 68,568位DVD (DVDの売れ筋ランキングを見る)
- - 1,077位外国のラブロマンス映画
- - 2,388位外国のミステリー・サスペンス映画
- - 6,125位ブルーレイ外国映画

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

NY

贈り物

2018年11月22日に日本でレビュー済み

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映画好きの恩師へのプレゼントでした。特に問題もなく良かったです。またよろしくお願いします。

1人のお客様がこれが役に立ったと考えています

役に立った

ぽるもる

特典映像

2017年2月24日に日本でレビュー済み

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デ・パルマの脇を名スタッフが固めているので面白くない訳がありません。ちゃんとキャメラはぐるぐる回ります。特典映像のインタビューは一見の価値があります。

2人のお客様がこれが役に立ったと考えています

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アルバイン

美しい人生よ～♪かぎりない喜びよ～♪この胸のときめきをあなたに～♪

2015年8月23日に日本でレビュー済み

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松崎しげるの「愛のメモリー｣とダブってしまいいまいち印象が薄いかな
だからタイトルはそのままObsessionオブセッションの方が良かったと思うのでありました
それにしてもジュヌヴィエーヴ・ビジョルドは舌を噛みそうなお名前ですな

役に立った

worldisyours69

今の時代には創られないであろう素晴らしい映画

2011年7月27日に日本でレビュー済み

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ブルーレイの発売前なので、作品について。

ブライアン・デ・パルマ監督がメジャーとなる直前に作られた傑作。無理と矛盾だらけのストーリーなど欠点を挙げればきりが無いが、観客に見せる（魅せる、もしくはだます）ことを前提とした総合芸術「映画」としては類をみない素晴らしい作品だと思います。
ネタバレにならない範囲で、是非注意深く見て味わっていただきたい点は、

1. オープニングのパーティでのワルツに乗ったダンス
2. ビルモス・ジグモントの撮影映像
3. バーナード・ハーマンの音楽
4. ジュヌビエーヴ・ビジョルドの表情と演技
5. ラスト近くのビジョルドの空港での回想（記憶回帰）シーン（素晴らしいカメラワークとズームの使い方、ビジョルドの幼児退行の表現！これぞ映画！感服！）
6. ラストの空港（5.とは別シーン）でのスローモーション、360度回転カメラワーク（1.のオープニングのダンスにシンクロする...ハッピーエンド？）

などです。特に5.と6.はデ・パルマの映像テクニックに酔いしれてください。
私個人としては、一般的にデ・パルマの傑作と言われる「殺しのドレス」など、この「愛のメモリー」に比べれば最下位ランクです。

皆様、どこをとっても、誰が監督しても同じCGまみれの映画なんか観るな！本物の映画を観ろっ！
つまらないかも知れないが、これがその本物の映画だっ！

34人のお客様がこれが役に立ったと考えています

役に立った

アッカ

ラストに驚いた。

2015年2月14日に日本でレビュー済み

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途中までは盛り上がらない映画だなあと思っていたが、ラスト２０分くらいの急展開に驚いた。

4人のお客様がこれが役に立ったと考えています

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ぐんぢ

最高の映画体験

2011年10月9日に日本でレビュー済み

Amazonで購入

今回BDを購入して久々に再見し、改めて主演女優のジュヌビェーブ・ビュジョルドの美しさにため息が漏れるほどでした。

そして相変わらずのブライアン・デ・パルマの流れるようなカメラワークに酔いしれました。

またサントラの荘厳なる響きもBDで一際磨きがかかり、本当に贅沢な映画体験が出来ます。

画質もフィルムライクなざらつきのなかでも奥行きがあり、ろうそくの明かりの美しいこと。

買い直して大満足です。

でもジャケットだけはチト残念かな。

でも、それを差し引いても星五つで。

9人のお客様がこれが役に立ったと考えています

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hirosweet

BDにした意味はあまりないですが

2011年9月25日に日本でレビュー済み

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初めて劇場で観てからかれこれ33年ほど経ちますが、いまだに新鮮な気持ちで鑑賞する事が出来る希有な作品です。
さて、ビデオを皮切りにLD、DVDと発売されていますが、いずれも熱狂的なデパルマファンだけがその存在を知っているのみではないかと思います。
このBDもきっと同じターゲットを狙って発売されたものでしょう。
これを購入される方は、きっと自分と同じように全ての媒体を所有されている方が多いと思います。
画質は残念ながらギャガ／パイオニアLCDのDVD版と比較しても特筆するほどの画質の向上は見受けられません。
音声はDTS-HDマスターオーディオ仕様となっていますが、DVD版も5.1chサラウンド仕様でしたのでこちらもそれほどの音質向上もありません。
ジャケットは手抜きな上にダサいです。
でも、そんなことはどうでもいいのです。
それでもこのBDは自分にとって買う価値がありました。
若き日のジュヌビェーブ・ビュジョルドをBDで見る事が出来る。それだけで十分です。
解説リーフレットが遠山純生氏ですがこれは力作です。これを読むだけでも買う価値ありです。

19人のお客様がこれが役に立ったと考えています

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desperado

原題OBSESSION(取りつくこと；強迫観念）

2014年10月30日に日本でレビュー済み

ヒッチコックの「めまい」をオマージュした作品とのことだが未見。
邦題がださいなと感じたが1976年の作品だということで納得。
知っているのは監督ブライアン・デ・パルマぐらい。
うーん、いくらなんでもストーリーに無理ありすぎと感じた。
ジュヌヴィエーヴ・ビジョルドがとてもチャーミングでかわいらしかった。

1人のお客様がこれが役に立ったと考えています

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他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Ann Marchlensky

Excellent movie that kept me intrigued until the very end of the movie

2020年9月10日にカナダでレビュー済み

Amazonで購入

The movie "Obsession" is a very suspenseful movie that I seen a long time ago. Genevieve Bujould plays a classic Mother-daughter dual role that was very well done with this actress. Cliff Robertson's portrayal of the grief struck husband and father who believes he has lost his entire family up until the very end of the movie. Brian DePalma did a superb job to keep the viewer in suspense up until the end. Well done, Brian.

1人のお客様がこれが役に立ったと考えています

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Allen Garfield's #1 fan.

The most overtly Hitchcockian De Palma film. (A good thing!)

2020年1月3日にアメリカ合衆国でレビュー済み

Amazonで購入

An enjoyably melodramatic mystery thriller that plays like a cross between Don't Look Now and Vertigo, Brian De Palma's 1976 hit has aged remarkably well - perhaps because of its classical quality that some would have found quaint even back then. Clearly but not unfavorably modelled on Hitchcock (Vertigo, specifically), the film starts as a kidnap thriller but soon settles into a languorous romantic groove that constantly plays with the audience's expectations. Aided by richly layered performances from his leads, a screenplay by Paul Schrader (Raging Bull, Taxi Driver), De Palma wrings real emotion and drama from what could have been a deeply silly caper.

Michael Courtland is a successful New Orleans businessman who seems to have it made - the palatial Southern mansion, the beautiful young wife and a daughter they both dote upon. His life is thrown into turmoil when his loved ones are snatched in the night, leading to a ransom situation that goes disastrously awry.

Sixteen years later, Michael is still haunted by these events, disconnected from his career and psychologically adrift. A business trip to Florence reunites him with a vision of his wife in the church where they met, leading to a romance that seems too good to be true for both of the players. As the new couple return to America, they both become consumed by their obsession with the past, as Michael's chance at redemption turns into a dangerous reprise of the previous tragedy.

Cliff Robertson (a few reviews said he is miscast; not so - De Palma wanted a middle-aged, somewhat acronistic "leading man" Gregory Peck/ Cary Grant type (a WASP, basically) - not many actors fit the bill in 1974/75.) brings his usual gravitas to the central character, etching Michael's guilt and compulsion with care and passion. Geneviève Bujold excels in a demanding dual ( three, actually. Look closely) role that is fully appreciated at the film's close, beginning as alluring to the audience as she is to Michael and becoming a heart-breaking victim as events spiral out of control. John Lithgow, in an early leading role, gives a sinister supporting performance, his reptilian charm and sleazy appeal making his part in the plot obvious from the start but no less pleasurable for that.

Locations play an important part in Obsession, and De Palma makes good use of them all, from New Orleans to sunset Florence. (The LA locations unrecognizable.) His roving camera may not seem that innovative now but it still has an elegant pull, sweeping the viewer along on the characters' emotional journey. His framing gives even static dialogue scenes an almost pop/comic-book quality that is entirely appropriate for such heady, heightened material. He also gets maximum mileage out of Bernard (Psycho, Taxi Driver) Hermann's Oscar-nominated Gothic score, reinforcing the film's dreamy ambience and adding a sense of both the spiritual and spirituality to the layers of intrigue.

As usual, De Palma takes twisted relish in toying with the audience, throwing in subtle and blatant nods to his craft and our experience throughout. The prelude sees one of the hoods teasing a distressed performance out of Michael's daughter to aid their demands, his appreciation of her convincing efforts - "That's good, that's real good!" - mirroring a director's manipulation of his actors. Later, a kid delivering the ransom message is told to ask for a deliciously inappropriate tip, making this harrowing moment subversively amusing.

The camerawork is fluid and sensual throughout, with an early pan-around of Michael's graveyard visit smartly bringing us up to date with the narrative, while the spinning shots the director loves so much (they're repeated in everything from Carrie to Scarface, and beyond -Raising Cain, The Untouchables) are deployed for moments of deepened melodrama. His trademark slo-mo is also very effective in heightening the drama in a few scenes.

Elsewhere, such familiar devices as shimmering dream sequences and cliched gap-filling flashbacks are employed to more provocative effect than usual thanks to the director's fearless approach with the material. Cunningly, Bujold's love interest is introduced via her lecturing Robertson on Renaissance art restoration, providing an unmistakable metaphor for De Palma's technique; immaculately composed surfaces with cruder concerns glaring out from underneath.

Obsession might not go down well with modern thriller audiences weaned on the likes of M Night Shyamalan (and God only knows why it has been released with a hugely misleading 18 ("R") rating on the box), but it's a satisfyingly murky slice of pulp that resonates more than it probably should due to the fierce commitment of the actors and the bravura style of the director. It makes a good introduction to De Palma's body of work, with many recognizable themes and visual motifs that recur in his more widely recognized classics. It might not be up there with the Hitchcock films that inspired it, but it's still a simultaneously classy and trashy potboiler that has stood the test of time well.

Arrow Video's presentation of Obsession is outstanding. There may be some grousing among videophiles about the image quality, but I get the impression from my viewing the bonus "making of" documentary, that the film is presented exactly as it was intended. The softness of the image was absolutely intended by De Palma - and the late cinematagrapher, Vilos Zsigmond (Deliverence, Close Encounters) and the image is swimming in pleasing, organic looking grain. No digital trickery here, just a faithful presentation of a highly stylized film. The DTS-HD 5.1 mix is okay, but the Mono track sounds lovely. The above-mentioned soundtrack sounds amazing, and truly evokes the dreamy melodramatic feeling for which it was intended. Absolutely fantastic work on this one.

The extras on this set may be few in number, but they more than make up for it in quality. First, and mote obvious when you pick up the package, is the "booklet". I put that in quotes because in fact, Arrow Video have provided a complete copy of the first draft of Paul Schrader's script for the film, originally titled Deja Vu. This draft includes a lot that never made it into the shooting script, and makes for a great read on it's own. Also in the book is a five page essay on the film, which elaborates on much of what I've written about regarding the genesis for the film. Arrow Video have also ported over the Obsession Revisited featurette from the original DVD release, which is very informative and runs a healthy 38-minutes. In addition, as has become de riguer with De Palma Blu-rays, Arrow Video have also included two of his early short films, Woton's Wake from 1962, and The Responsive Eye from 1966. Finally, they've included the original theatrical trailer. All of this, the film and the extras, is presented in 1080p HD with no region lock, so anyone with a Blu-ray player anywhere in the world can play everything on the disc.

21人のお客様がこれが役に立ったと考えています

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Phany

Très bon film

2016年7月23日にフランスでレビュー済み

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J'ai été agréablement surprise par ce film, un suspense jusqu'à la fin et une intrigue bien ficelée, on ne s'ennuie pas....

1人のお客様がこれが役に立ったと考えています

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Daniel S.

PALI (-N) MPS( -C) EST

2002年12月6日に英国でレビュー済み

Amazonで購入

Based on a very smart screenplay directly written for the screen by Paul Schrader and Brian De Palma, OBSESSION is, in my opinion, the masterpiece of the director of MISSION IMPOSSIBLE. The movie can be read at several different levels but is primarily an excellent thriller treating of the guiltiness felt by a man who failed to rescue his wife and his daughter when kidnapped in New Orleans.
The key of OBSESSION lies in the scene of the first encounter between Courtland and Sandra, in the medieval church in which the hero married his first wife. Sandra is trying to restore old paintings that happen to have been themselves painted over older paintings. Asked by Courtland if the new paintings will be erased, Sandra answers that it's not useful to destroy them in order to bring into light the original ones.
So OBSESSION is clearly an homage to Alfred Hitchcock's VERTIGO but is also a movie of its own who deserves credit. I remember that the sumptuous travellings of De Palma's camera were, in the seventies, rather unusual in the american production and generated numerous critics. One can only observe, 25 years later, that De Palma new aesthetics has inspired a whole generation of american filmmakers, like Steven Spielberg for instance, who has understood that a camera movement could produce emotions in the viewer's heart.
A DVD zone your library.

15人のお客様がこれが役に立ったと考えています

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jartwo

A Movie You Might Not Realize You Need To See!!

2016年6月20日にアメリカ合衆国でレビュー済み

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In my mind, possibly the best idea for a plot ever brought to cinema. They don't write movies like this anymore. Inspired by Hitchcock's "Vertigo" (1959) except that all the elements (save for the motivations of the main character) are all but unrecognizable, so this is no mere "remake". If you've never seen this overlooked classic, or you're growing a bit tired of the relentless, cookie-cutter, superhero plots these days, prepare yourself for a mindbending experience...right down to literally the very last frame.

Cliff Robertson plays a New Orleans businessman in love who is about to marry (Genevieve Bujold). But, soon after, there is a tragic kidnapping - the new wife along with her young daughter. There is a ransom note. There are specific instructions on where, when and how the million-dollar ransom is to be delivered. Also the chilling warning not to contact the authorities. But, desperate, he makes contact with the FBI anyway. They manage to trace the kidnappers to their hideout, but things go wrong and there is a shootout - the kidnappers escape with his wife and his little girl...they are never seen or heard from again.

Fastforward a couple of decades later. He has remained a man with one foot in the present and the other in the past. His business in the intervening years has continued to prosper. He takes a trip to Europe, ostensibly to get his mind off his work...but can't help remembering his wife. He is drawn to the church in Italy where they had been married and while inside, sees a young woman who appears to be the spitting image of his dead wife. He makes conversation. They eventually begin to date...eventually there is an affair. There is another wedding. And...another kidnapping. And another ransom note. This time with the identical demand of the one years before...

Oddly enough, all this is Not a spoiler alert. It simply sets the stage ultimately for the mindbending resolution.

"Vertigo" is a terrific and layered film in any context, but "Obsession" may even be better. A truly haunting score (well worth seeking out) is turned in by none other than Bernard Herrmann, the very same composer who so famously scored the majority of Hitchcock's films, including "Vertigo".

It will make no difference to your enjoyment of "Obsession" if you've never even seen "Vertigo" at all. Both are great and each will fully stand on its own. Waaayy recommended!!

Although I can't really have a full discourse on the ending **without** calling for a spoiler alert, I will say that I believe this film is indeed NOT flawed as so many may seem to think. Although there is an obvious factual conclusion to be made during the final scene, and although it may well be possible to "see" this conclusion coming before this scene has played out, this conclusion is NOT the point of the ending and therefore is not the point of the film. The point of it is not in the conclusion of facts. The meaning is centered around the two characters involved who are only able to overcome the extreme bias of the outrageous factual circumstances between them because, deep down, they know they so deeply **want to **...and in fact, they realize they **must** overcome if they are to reclaim their lives. It ultimately is a matter of love, acceptance and forgiveness. The powerful, emotional ending is a triumph for the characters, despite all odds. For those who've seen both films, compare that ending to the one for "Vertigo"...a far different take on the same material...and That is DePalma's triumph. But, DePalma couldn't have 'spoiled his own surprise' so to speak by tipping his hand earlier in the film, and needed to let the last scene play out as it did - but the factual conclusion itself is rendered, on an emotional level, veritably inconsequential to the characters themselves...and to us. It is perhaps one thing to say that DePalma was necessarily taking a risk (of losing the audience's focus in the last scene), but I think that it's quite another to say that, because of it, the film itself was flawed...the way I see it, our expectations were being challenged, that's about all, really.

But, speaking for myself, the full measure of the meaning of the last scene has seemed to become clearer to me and has deepened over the years with repeated viewings. It seems to me this is the way in which DePalma envisioned the film - to be seen multiple times...not really because there are so many details to piece together...there aren't...but, rather to better allow ourselves the **time** (and this movie is indeed about taking the time...even more than in "Vertigo") to **fully connect with** (and even revisit) the depth to which these emotions and motivations could truly run...to empathize. A reflective state and something that DePalma knew could not be rushed and that it all perhaps might not be so evident to us on the the first go-round...as if he were ultimately counting on our ability to emotionally 'Gestalt' to both fill in, and flesh out, what is necessary to give the film its true weight. Rush the process, resist sinking into your feelings...and you may miss it. A subtle thing, yet it may make all the difference. But, once accomplished, our movie-going experience just may then become, just as with "Vertigo", our 'obsession' (no pun intended) with the film itself. I think this film ultimately succeeds on that level very well...once successfully given the **time** it is asking for...not so much the length of that time, as the full depth of it. Just my two cents.

Cheers!

3人のお客様がこれが役に立ったと考えています

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