Possession

It's staggering to come up against a filmmaker who has a truly mad vision to put onto celluloid. If it's really believable and the maker isn't just putting on the audience it can take us into that madness. Possession is a film that is like it's title, taken with it's own sense of grandeur, starting off as a Scenes-from-a-Marriage-esque tale of downfall - with more ZAP and wildness in the fights the married couple have - but with something just not quite right. These scenes feel raw and uninhibited, by the actors and by the material, which goes to such extremes of how much they hurt one another that it becomes perversely funny.

Why all the camera movement in this film, especially early on, where it turns into Vittorio Storaro Time with a Red Bull chaser? From the sensibility of the high emotions and hysteria on display, why not? If your material is going all out, then you might as well go all out with it. Isabelle Adjani really, REALLY goes to town here, forgetting that there's such a thing as 'chewing scenery' and just stampeding through it at times, with Sam Neill and the camera operator being breathless to keep up. It's a film that moves with real force and energy... sometimes maybe TOO much force and energy.

For a film like possession, excess is not something that can be kept back, but what is so fascinating is that it's so intense at times, in the husband/wife interactions, the emotional violence springing out into physical abuse (at one point a slap is then encouraged into more, an uncomfortable scene done just right), that it's fascinating because it's going into such high volume. And as a horror film, a true horror film of the soul where it's laid bare and stripped out by a demon and f***ed with a spiky tail or something, it's bewildering, mind-boggling, and a dark pile of fun.

A lot of it is the performances - Adjani worked her ass off to get that Cannes best actress win, and though there are times I can't understand her (not sure if it's the accent or the lines, like her 'fate and chance' monologue) and runs the gamut as a character who starts out flawed and damaged and gets so turned-inside-out she makes Linda Blair in the Exorcist look like a... girl. And Sam Neill has a kind of strange appeal here - at times he talks like he doesn't take these lines seriously, or is doing so SO much that it just becomes funny, and other times he is genuinely power-punching with his dramatic touch. In a scene like the restaurant fight he goes between both levels.

But why I may, someday, after I can get over the experience, would return to Possession is that among the f***ing-insane style of films out there, there's nothing else quite like it. It revels in bringing the audience into its horror set-pieces, especially with that creature in the apartment as ambiguous a demon as the baby in Eraserhead, and the dread in every man going into that apartment harder to bear than the one before. And there is genuine pain, I think, in the filmmaking. I don't know the history behind the film's gestation but I'd wager the director had a bad marriage and expressed it, literally and metaphorically, with a tale of an unfaithful woman brought to madness by a demon... or maybe that's it.

Possession doesn't spoon-feed at any point in time. On the contrary, and maybe this is a flaw I think, there's so little explanation of anything in the film that by the last fifteen minutes as Sam Neill's character goes ape-s**t and the husband/wife's child just gives up. It got to the point where I had my hands up in a 'what the hell!?' position sitting in my seat in the theater. Perhaps another viewing would solve some of my quandaries, or just make new ones. Whatever the case, the mood of this film is chilling and harrowing, and for those who like their dolly shots, this is a must-must-MUST see. Oh, and by the way, the creature effects - by the guy that did E.T.(!)

This film doesn't do anything in halves, it doesn't abide by the mock humility of an understated/minimalist film that says "I am important but I'm not gonna show it to you". I generally love overstated/baroque movies as much as I like overactors (Kinski, Bette Davies, Nic Cage) but Possession goes beyond Gothic, it flaunts itself in violent anarchy even when it knows it's not being important. It's a movie in a constant state of violent flux, a chaotic maelstrom of emotion threatening to rip apart at the seams by force of its own negativity, an excess of emotion and abundance of expression. I don't know what Zulawski is trying to say through the film about his own divorce from wife and country and political system, like Eraserhead it's something so personal that it pierces through bottoms of the soul to come out at the other end and speak for things that touch all of us.

Sam Neill and Isabelle Adjani see their marriage come crashing down and the film is not merely the death and burial but the wake before and the mourning after. I don't like how Zulawski uses Isabelle Adjani to play different characters very calculated to be different sides of the same person, but then again I don't like movies that do that, it's like a very easy way to a quick symbolism (Ashes of Time, another film I saw recently, does that too). And I don't like who the monster turns out to be, for the same reason, and also because the monster, bloody and deformed, is a better parable of all the bile and hatred and oppressed furious anger felt the character who nurses it to life. The symbolism is too clear almost.

But the rest of the film you watch in stupefied silence. Possession is like a woman in the grip of hysterics running around an apartment tossing and breaking things and cutting herself up with a meat knife, arms flailing like an armature of a tentacled beast ready to tear itself out from a human body.

What Zulawski does here is perfectly illustrated in one scene: the couple have one of their terrible rows in the apartment, the woman storms out, music cue plays then stops, and we get the impression the scene has played out, we expect the cut. But then Zulawski has the camera track behind the man as he chases the woman down the stairs of their apartment and out in the street, pulling at each other and yelling in the middle of an empty intersection, then a truck carrying beatup cars comes rolling by, cars falling crashing down from it. Like the wail of a banshee, Possession is demented and frightful.

It's a movie that doesn't happen in the same place as other movies. Sometimes it gets hard for me for example to differentiate the look and feel of one noir from the other, one NYC crime flick from the other. Like Don't Look Now with its Venetian labyrinths, this has a sense of place and a malevolent presence in that place. It happens in that part of the city where other movies don't know how to go, the streets are different, the buildings and apartments look curiously different, and when an apartment catches on fire, there's a strange old woman down in the street corner yelling things about God ("giving the light clear, getting it back dirty") and cackling maniacally as though an end to the world is very close at hand.

Both Sam Neil and Isabelle Adjani give performances of a lifetime. Neil is going through the motions though, except for his 'going mad in a hotel room' scene in the beginning, his madness is external, pantomimed. Isabelle Adjani lives it though, feels and breathes it. She gives perhaps the most outstanding female performance I have ever seen. Her scene in the subway station, all spasmodic intensity and wordless cries, affected me physically like no other, at once monstrous and immensely sad.

This movie is a nervous breakdown and an agnostic lament against an absent indifferent God captured on celluloid. The tagline for the American release reads "She made a monster her secret lover", but this is not that type of film. This is like few films ever made, before or after, and is done with the ferocity of someone going mad in four walls, now perhaps clawing at the walls with blood and bile and staring at his designs as though there might be pattern and order there.

There are subtle films, there are unsubtle films and then there's 'Possession (1981)', a picture that cranks everything up to eleven and doesn't even think about adjusting the dials until its end credits have rolled. It's a very violent movie, and I'm not just talking about violence in the traditional sense. Every movement feels like a convulsion, every reaction an explosion, every interaction a fight, every line of dialogue a visceral scream. Of course, there are also moments of more conventional conflict, eruptions of painful brutality that hit like a truck, but the piece is very aggressive for its entire duration. It's nihilistic, but not unreasonably nasty. Its characters tear themselves apart from the inside as they fruitlessly scramble to understand their seemingly world-shattering situation. The performances are overwrought yet vigorous, some of the most intense I've ever seen on screen. They walk the line between scary and silly, ultimately emerging as rather uncanny. As such, they're rather unsettling. They're over-the-top without being obnoxious, forceful without being foolish, pretty much pitch-perfect for what the movie tries to achieve. Everything is just a bit off, representative of a kind of unreality that roots the story in a world adjacent to our own, recognisable yet alien. The tone is effectively bizarre, as is the film in general. There's nothing quite like it, to be honest. It certainly has a distinct effect. The actual plot is strangely discreet considering how brazenly unsubtle the overall experience is. The movie is, at its core, a metaphor for divorce. The specifics of how this metaphor relates to the beat-for-beat plot are almost irrelevant. In a way, the film's subtext is its substance. Without its allegorical underpinning, I suppose it doesn't really hold any weight. This is almost the opposite of how most movies with an allegorical element operate, as they tend to present an air-tight straightforward story that can also be interpreted in a few different ways. Here, those interpretations are pretty much the only thing that matter. Most of the movie is a literal manifestation of the metaphors it represents; there's almost no other way to interpret its events. Perhaps that could be frustrating to some, especially because its in-the-moment narrative is purposefully difficult to parse. Yet, it's a picture that you're meant to feel more than understand. It makes sure that you feel every visceral moment. In that sense, it's a total success. It's oddly engrossing, an energetic and bracing experience that takes no prisoners. It's bizarrely entertaining in its own way. It's unlike anything I've ever seen and all the better for it. 7/10.

Acting, colour, camera movement and story thrown into hyperactivity…What do you get? Well, the headache inducing, enthralling Possession. Beautiful, erotic and extremely disturbing, Andrjez Zulawski's film (admired by the Italian Master of the Macabre himself, Dario Argento) is an extreme assault upon the senses.

Mark (played excellently and deliberately over-the-top by Sam Neil) returns home from secret government work to his wife in Berlin, cue many shots of the Berlin wall representing the couple's marital breakdown. However, Mark's wife, Anna (a truly unforgettable, no holds barred and hypnotic performance from the lovely Isabelle Adjani) is behaving inexcusably strangely. Mark finds out that she is having an affair with Heinrick (another crazy performance from Heinz Bennet) and confronts him only to find that the lover has not seen Anna for some time. This is the part of the rollercoaster ride before your cart

plummets into some real thought-provoking, unsettling and scary surrealism.

Possession is definitely the film that requires many subsequent viewings. Excellent performances that frequently go way OTT, dreamily fluid camerawork and migraine inducing metaphorical horror, this is a true beast of the imagination. Love it or hate it, it is a true original masterpiece that is definitely not for all tastes. If films were placed in boxes and divided by flavours, like crisps, POSSESSION would sit in a box entirely by its self, awaiting only those who can take it. Go into it with an open mind like you've never gone into a film with one before. It can seriously mentally damage you if you try and figure it all out on that initial viewing, so beware; if there is truly anything to work out. The now infamous miscarriage in the subway scene is confusing, painful and sickening to watch and nothing like it can be found elsewhere. This is a hell of a film, if you're prepared for it!

`This for me exceeds anything thrown up by The Exorcist for sheer impact on the nervous system.' David Thompson - Sight and Sound

A woman starts exhibiting increasingly disturbing behavior after asking her husband (Sam Neill) for a divorce. Suspicions of infidelity soon give way to something much more sinister.

This is a very absurd film. It starts off normal, making you think it is a drama or romance gone wrong. But even early on we get something telling us there is something off. Maybe a little David Lynch, maybe a little Franz Kafka. But something not quite right. And then it starts to build. There are moments that almost seem right out of Lovecraft.

This seems to be a horror film that needs to be seen, but may not be very well known in the mainstream. Based on how many people rated it on IMDb, it can't be extremely obscure, but still enough that it has to be overlooked. And it shouldn't be.