Strange would do very little to accurately describe this forgotten gem's atmosphere. TWISTED OBSESSION is definitely riding high on the 80s erotic thriller boom, taking a few cues from BODY HEAT, MASQUERADE, and perhaps BLUE VELVET as well. Horny Jeff Goldblum, a version of the actor I'm always wishing more present, stars as a guy whose wife leaves him, and he gets wrapped up in a bizarre filmmaker and his sister. I won't say more than that.
The director Fernando Trueba is going for an old-school noir vibe, less Hitchcock and more Chandler, but again with the psychosexual slant that Goldblum is perfect for. This film evokes Freudian dream logic, much of which leaves ultimate conclusion to imagination, and apparently little of which placates the average viewer. The protagonist, for instance, is a man of imagination whose imagination takes control of him, very Greek a theme I might add, and by the end of the film, his own stories become his undoing.
I quite liked this, maybe because Goldblum really sells his horndog persona and because Trueba directs the hell out of it. If you go into this for the right reasons, I suspect you'll have one helluva good time. The night is always young and the dream is always the same. Goldblum's character knows this, but do we?
Strange would do very little to accurately describe this forgotten gem's atmosphere. TWISTED OBSESSION is definitely riding high on the 80s erotic thriller boom, taking a few cues from BODY HEAT, MASQUERADE, and perhaps BLUE VELVET as well. Horny Jeff Goldblum, a version of the actor I'm always wishing more present, stars as a guy whose wife leaves him, and he gets wrapped up in a bizarre filmmaker and his sister. I won't say more than that.
The director Fernando Trueba is going for an old-school noir vibe, less Hitchcock and more Chandler, but again with the psychosexual slant that Goldblum is perfect for. This film evokes Freudian dream logic, much of which leaves ultimate conclusion to imagination, and apparently little of which placates the average viewer. The protagonist, for instance, is a man of imagination whose imagination takes control of him, very Greek a theme I might add, and by the end of the film, his own stories become his undoing.
I quite liked this, maybe because Goldblum really sells his horndog persona and because Trueba directs the hell out of it. If you go into this for the right reasons, I suspect you'll have one helluva good time. The night is always young and the dream is always the same. Goldblum's character knows this, but do we?
