[Film Review] Possession (1981)

When leaving the Prince Charles Cinema in London, after seeing this film for the first time, my only thought was, “Well I understood that even less than the original Suspiria”. Upon further reflection, I think this may be one of the best cinema experiences of my life.

Possession is a film that demands the presence of a mass audience, chowing down on popcorn and taking in the chaos. The giggles and gasps that flooded the auditorium added to the hysteria that this film attacks you with, whether you like it or not.

Andrzej Żuławski’s Possession is the only English language film made by the Polish director. The plot centres around two people, Mark and Anna, as they go through a traumatic divorce, which includes violence, infidelity, and paranoia. The couple experience varying levels of grief for the loss of their relationship, whilst their young son Bob is stuck in the middle of clashing parents. Meanwhile, Mark falls for Bob’s teacher who bears a striking resemblance to his ex-wife, as Anna experiments with her carnal needs and morbid desires. If it wasn’t for the inclusion of a tentacled sex monster, this film could have been a classic drama or a romantic comedy.

Although Possession came out thirty years ago, I was completely unaware of the plot. The title appears to describe a demonic possession- a classic story of good versus evil, such as in The Exorcist. What I soon realised was that the focus of the narrative was the ownership of one individual over another, and that boundaries of right and wrong were skewed by the intentions of all those involved. 

Sam Neil as desperate husband Mark was an instant appeal. With Jurassic Park a decade away, Neil seemed to be experimenting with horror in the early 80s; he played another iconic character, Damien, in The Omen III: The Final Conflict in the same year as Possession’s release. The character of Mark sees him really pushing his acting limits in a way not previously seen; his over-the-top crying and rocking portrays a man on the edge, his eyes screaming with agonizing questions that Anna refuses to answer. His pain leads to some very drastic impulses, including going on an alcoholic bender to forget what is happening, self-harming with a knife, and the murder of one of his ex-wife’s lovers-- made to look like a suicide- in a dive bar. 

Speaking of said lover, (played by German actor Heinz Bennent) Heinrich’s strange wall stroking as he describes his sexual chemistry and lust for Annaalmost takes the audience out of the scene, but at the same time there’s no other way that this character could have been portrayed. Mark is clearly antagonised by this man’s presence from the beginning, he is the antithesis of Mark himself. Without saying too much more, it could be suggested that Heinrich is a representation of the lead characters’ repressed sexual desires, his only reason for existence seems to be his need for physical satiation. 

Distraught wife Anna, played by the captivating Isabelle Adjani, is the highlight of Possession. Although other actors in this film may be described as melodramatic, Adjani’s plummet into full psychosis feels so visceral that the audience’s laughter at her dialogue soon turns to silence, as she cuts her neck with an electric knife, screaming bloody murder. The most disturbing scene, however, has to be in the subway, where Anna describes a miscarriage that she experienced when Mark was away for work. Her frenzy of pain and panic is portrayed in a way that may seem over the top in another film’s context. However, within the walls of this arthouse marvel, the audience are left feeling traumatised as Anna convulses and flails, finally falling to the floor and expressing red and white liquids from every orifice of her body. 

There couldn’t be a review of this film without discussing the monster in a little more detail. Although there are things that should be experienced without spoilers, the practical effects of the creature must be recognised. In a time where CGI was a fantasy of the future, Carlo Rambaldi was the kingpin of Italian visual effects. Although his name may not be known by general filmgoers, his work is certainly recognisable; Rambaldi is the creator of the alien head with the protruding inner mouth in Alien, as well as lovable E.T., a step away from his previous horror monstrosities. His creation in Possession is far more gory than those previously mentioned; a very wet being covered in blood and slime, it reminds the audience of a fish or octopus, perhaps one that has fallen from a great height. The need to look away fills you every time the camera lingers just a little too long on it’s form. 

Looking back, the only criticism I have for this film is that it may not appeal to the wider public. The shaky narrative, hammy acting, and inconclusive storyline may leave audiences quite confused. For those who love an obscure arthouse film full of interpretation, it is certainly one to visit repeatedly, and to deconstruct with friends over a glass of wine. My main question for those who have seen Possession would be is Bob really that good at holding his breath or did I just watch a child kill himself? I will certainly be revisiting Possession again soon to try and unravel its complex themes.

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