Bobby depicts the coming and goings in the Ambassador Hotel on the day that US Senator Robert F Kennedy was assassinated. Like recent films Crash and Syriana, Bobby contains multiple storylines and a huge high profile cast.
Beard, William, The Artist as Monster: The Cinema of David Cronenberg, University of Toronto Press, Toronto, 2001
William Beard’s extensive critical analysis of the cinema of David Cronenberg considers Cronenberg as a filmmaker with a strong authorial voice whose films make up a powerful body of work containing very specific re-occurring themes, attitudes and style. From Videodrome (1983) onwards Beard identifies the main theme of Cronenberg’s films as an existential-romantic ideal of “a pathfinding, transgressive [male artist/creator] figure delving into hidden or repressed realms where others do not wish to go”. (257)
An annotation for the Melbourne Cinémathèque
In 1975 David Cronenberg assaulted audiences with Shivers, his third feature, introducing many of the interests and themes that would preoccupy his subsequent films. These themes include an exploration of the relationship between humans and technology, a fascination with the fragility and mutability of the human body, and the radical possibilities of transcending evolution by using science to drastically alter our bodies and minds.