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Dec 31, 2019 · Visconti's 1943 movie Ossessione took a new approach to crime films. Chris Flackett looks back at the triumph of Neo-Realism over Film Noir.
Feb 4, 2016 · As much as the 1946 adaptation of The Postman Always Rings Twice has earned its place as an important American Film Noir, so too Ossessione is essential to Italy’s history of lurid, intoxicating giallo cinema. 16 Ossessione provides a perfect bookend to Calamai’s final performance as Marta in Dario Argento’s Profondo Rosso (1975): in both ...
- Alexandra Heller-Nicholas
Ossessione ([ossesˈsjoːne], "Obsession") is a 1943 Italian crime drama film directed and co-written by Luchino Visconti, in his directorial debut. It is an unauthorized and uncredited adaptation of the 1934 novel The Postman Always Rings Twice by American author James M. Cain , and stars Clara Calamai , Massimo Girotti , and Juan de Landa in ...
Mar 11, 2019 · For the authors, what makes a film queer is its antinormative ambition to articulate an experience of reality that knocks dominant phenomenologies off kilter and forges dissident horizons ‘of affiliation, affection, affect, and form’. 2 My take on Ossessione translates Galt and Schoonover’s framework from cinema’s geography to its ...
- Lorenzo Fabbri
- 2019
The following thesis focuses on the Italian director, Luchino Visconti and his first feature film, Ossessione. It evaluates his film in relation not only to the director’s biography but also to its historical and cinematic context.
- Marco Della Motta
A dapted from James M. Cain’s popular novel The Postman Always Rings Twice, which would also be adapted by Hollywood three years later, Ossessione (US: Obsession) is notable for many reasons: it’s the first feature film directed by Italian master Luchino Visconti, the first example of what would become known as Italian neorealism, and ...
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Why was 'Ossessione' censored?
“Ossessione” is an adaption of noir novel classic “The Postman Always Rings Twice.” If there is any doubt as to the political provocativeness of Luchino Visconti’s film, it lies in the fact that the movie was censored by Italian fascist authorities for decades after release… causing its glossier Hollywood rendition of the same source…
