Brian De Palma's 1975 emotional thriller Obsession -- a film very much in the aesthetic and thematic shadow of Alfred Hitchcock's classic Vertigo (1958) -- seems to have been forgotten among the director's more flashy and sensationalistic films such as Dressed to Kill (1980) and Blow Out (1981), or his bigger Hollywood releases, The Untouchables (1987) and Mission: Impossible (1996). Hopefully, with the release of Columbia TriStar Home Video's excellent DVD of the film, a whole new generation will discover the film's many strengths. The picture has been digitally remastered and is presented in its original theatrical aspect ratio of 2.35:1, anamorphically enhanced for widescreen TVs. The transfer looks fine, if occasionally grainy and soft. But the lack of definition in the picture was a deliberate effect made by cinematographer Vilmos Zsigmond and De Palma, who wanted a diffused look to the images. The widescreen image seems balanced throughout and looks great, giving the film a more expansive appearance instead of the horrible pan-and-scan picture that was offered on the VHS video of the film. Colors are soft, as stated above, but they always look balanced. There is no evidence of color undulation or digital artifacts. But even better than the visual transfer is the audio upgrade. The film is now available in 5.1 Dolby Digital, as well as two-channel Dolby Surround. The original English mono track is also available, but the newly remastered tracks are the way to experience the film. Bernard Herrmann's masterful score (one of his last) evokes a wide range of emotion, and it really gets a chance to shine on this disc. Columbia TriStar has also included a short but excellent documentary on the making of the film, called "Obsession Revisited." De Palma, Zsigmond, producer George Litto, and stars Cliff Robertson and Genevieve Bujold are all interviewed and offer up many fond memories about the making of the picture. Zsigmond also talks about the film's diffused lighting and the strange flickering light effect which occurs during the climax. There are also moving recollections about Herrmann's work on the film. The original theatrical trailer is also included, as are promos for three other Columbia TriStar releases.