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Mar 11, 2019 · Ossessione was truly anti-Italian, and not merely from a formal point of view, in its endeavour to bring together American noir, French naturalism and Italian verismo by shooting a melodrama on location.
- Lorenzo Fabbri
- 2019
- A Moral Authority
- Filming The Real
- Men, Women & Crimes of Passion
- Death, and Right Away
- The Opening of Doors
Prior to Ossessione, Visconti, a member of a prominent noble family of Milan, had worked as the assistant director on a couple of Jean Renoir pictures, a connection having been made through mutual friend Coco Chanel. The move to directing his own movies was a natural progression. Yet it would not be without its challenges, namely the interventions ...
Share Share on PinterestShare on FacebookShare on Twitter Visconti first came across The Postman Always Rings Twice when Renoir give him a French translation of the book. It has been said that“the project united his aesthetic, ideological and stylistic ambitions with concrete melodramatic foundations, all within a solidly recognisable socio-cultura...
The typical Film Noir protagonist was typically male, at odds with the world, at a low ebb but with a curiously righteous moral code that exerts itself sometimes against his will. Author Raymond Chandler described his great creation private detective Philip Marlowe as a “shop-soiled Sir Galahad” and that seems about right. Women, on the other hand,...
Whereas a Film Noir (quite rightfully for the genre) would revel and wallow in the dirty details of the scheming and the execution, Ossessione is much more subtle in its execution, as if the murder is more just the by-product of the complex power relationships between the protagonists, rather than a living, breathing entity in itself. There is no g...
Two great film genres, two different cinematic approaches. But what Ossessione proves is not only the worthiness of the hard-boiled, pulp crime novel as a template for complex, psychologically driven explorations of human relationships, but that such explorations did not and do not have to conform to the standard generic conventions of the typical ...
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 ...
Sep 8, 2019 · The collaboration introduced Visconti to the Italian film world and, in particular, to a group of anti-fascist critics and filmmakers who gathered around the journal Cinema.
May 6, 2024 · Widely considered one of the first works of Italian neorealism, Ossessione is based on James M. Cain’s novel The Postman Always Rings Twice and tells of a drifter character called Gino who falls in love with the wife of a roadside innkeeper.
Feb 4, 2016 · The production history of Luchino Visconti’s Ossessione (1943) is one so rich that it at times risks distracting us from the intricate internal mechanics of the film itself. 1 Leading up to his directorial debut, Visconti’s collaboration with Jean Renoir as assistant director on the ill-fated La Tosca (1941) 2 – described by Visconti in retrospe...
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In the second section, I focus on Ossessione’s display of queerness as the most viable alternative to fascist living, tracing how the film reflects the earlier elaboration of a new (anti-fascist, anti-racist) national gaze.
