Amazon.com

A summit meeting of great Italian directors of the era, Boccaccio '70 is an antipasto platter of vintage sex symbols and naughty material. Cooked up and bankrolled by Carlo Ponti and American producer Joseph E. Levine, the four-part film was meant to tap the international smash of Federico Fellini's La Dolce Vita, which gave audiences some refreshingly, you know, "mature" subject matter. Four directors were hired to create segments ostensibly based on the tales of Boccaccio:Fellini himself (in the lull between La Dolce Vita and 8-1/2), Luchino Visconti, Vittorio De Sica, and Mario Monicelli.

Monicelli's story, Renzo and Luciana, is an agreeable tale, full of everyday Roman life:an office worker (Marisa Solinas) must marry her boyfriend when she gets pregnant--although marriage is against company rules. Fellini's segment, The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of a censorious bluenose (Peppino de Filippo) who becomes incensed at the presence of a billboardfeaturing a sexy portrait of Anita Ekberg (selling milk)--a portrait that comes to life. For this bizarre escapade, Nino Rota composed an advertising jingle that will stick in your mind whether you want it to or not.

Visconti's The Job is the best segment, tracking the emotional chess game between a playboy (Thomas Milian) and his wife (Romy Schneider at her most gorgeous) after he is publicly exposed in a sex scandal. Finally, the De Sica piece (The Raffle) is a fairly broad romp that uses Sophia Loren as the reward in a raffle. Sophia's delicious, needless to say.

The finished product weighed in at a whopping 208 minutes, and Monicelli's segment was lopped off before the film showed at the Cannes Film Festival. It has never been restored, until this DVD release. All the segments are frankly too long, and none qualifies as an essential gem, but they do give the flavor of Italy's best at an especially exciting cinematic moment. --Robert Horton ... Read more

Reviews (2)

A must for fans of the directors
BOCCACCIO 70 is made up of four short films, each around 45 minutes long.The DVD set is broken up into two DVDS, with two of the shorts on each, and the second DVD containing a few extras.

The transfer for all the shorts is absolutely stunning.I don't think it could have looked this good when it played in theatres.

Disc 1

The first segment, directed by Mario Monicelli, had long been unseen, at least in the US.It was removed from the US release of the film.It is the least of the four, but still quite watchable, about a newly married couple, dealing with their family and work.Not much to it, but an interesting view of everyday life.

The second is probably the strongest, by Fellini.I would argue that this is one of Fellini's most focused works (although I would admit that I find him to be overrated to some extent).It is a very funny film about a moral crusader who objects to a large billboard for milk, with Anita Ekberg on it.

Disc 2

The third segment is directed by Visconti starring Romy Schneider.A wealthy man is caught in a scandal, having to do damage control with his business associates and his wife.It is one of Visconti's lightest works, and also quite fun.

The final segment is De Sica's THE RAFFLE.A group of men enter a raffle, the prize being Sophia Loren.

The extras on the disc include the original US credits, trailers, and some brief interviews made at the time of the films release, as well as a photo gallery.

The film is a must watch for all fans of the directors.

Drink your meelk!
This film I picked up more out of curiousity and because Fellini directs one of the viginettes. I had never seen any of the 4 mini films before, nor did I know of the controversy surrounding its universal release. Each film deals with sexuality in different ways. All of the films have impressive looking anamorphic transfers for being almost 45yrs old. There is English dubbed audio tracks though my copy kept switching back to Italian on its own.. English subtitles looked fine.
All of the films looked great and are restored anamorphic transfers. The Fellini film was my favorite by far. This is his first feature using color as well as featuring dreams/fantasy in his films. I couldn't help think of Attack of the 50ft Woman seeing thecharming Anita come to life off a billboard. This is as close to comedy as Fellini got , too bad he didn't explore this more often. Fellini's segment is almost an hour.

The Visconti piece was lavishly produced and feautured a troubled wife trying to rekindle that spark. This takes place in a high class French styled mansion. Romy is nice to look at even if she is rather pathetic. This mini drama was the most serious of the 4 and rather depressing as it unfolded.

The last two were rather light and forgetful even if Sophia Loren looked fabulous, and was omni present in her role as a carnival spinster with a change of heart.

The extras are fun. Lots of on set pics and lobby cards , plus a large fold out booklet with press clippings and news reviews.The U.S. and Italian trailers are intresting to compare.

If your a Fellini fan, you would do well to see this for his giantess fantasy alone!





... Read more

Amazon.com

Luchino Visconti's adaptation of the Thomas Mann novel is the very definition of sumptuous:the costumes and sets, the special geography of Venice, and the breathtaking cinematography combine to form a heady experience. At the center of this gorgeousness is Aschenbach (Dirk Bogarde in a meticulous performance), a controlled intellectual who unexpectedly finds himself obsessed by the vision of a 14-year-old boy while on a convalescent vacation in 1911. Visconti has turned Aschenbach into a composer, which accounts for the lush excerpts from Mahler on the soundtrack (Bogarde is meant to look like Mahler, too). Even if it tends to hit the nail on the head a little too forcefully, and even if Visconti can test one's patience with lingering looks at crowds at the beach and hotel dining rooms, Death in Venice creates a lushness rare in movies. For some viewers, that will be enough. --Robert Horton ... Read more

Reviews (36)

Visconti's heart-breaking vision of unrequited love
When I saw "Death In Venice" I was haunted by it's images for weeks. To this day, I cannot think upon this film without again experiencing some of the original feelings that it inspired. This is not, without question, an easy film to watch. The dialogue is sparse and the music is basically limited to Mahler's gorgeous Adagietto from Symphony No. 5. Notwithstanding, never has the marriage of music and film been more vital or more atmospheric. Mahler's haunting music was seemingly composed for this film and the effect is chilling. Dirk Bogarde is perfection as the bitter, vitriolic Gustav Aschenbach, a man so consumed with what he considers ideal beauty that he welcomes his own destruction for a moment in it's company. The young Bjorn Andresen is, too, equally captivating as the object of Aschenbach's obsession. Even though his role is essentially a non-speaking one, what he achieves within the lmiits of the role is extraordinary. The beautiful and elegant Silvana Mangano is on screen too infrequently for my taste, but her contribution is nonetheless wonderful. At times I found myself enveloped by this film, as if though I were a guest of the grand hotel quietly seated on a wicker chair watching these events unfold before me. Venice has never been more tangible on film than it is here. Do yourself a favor and watch this masterpiece of a film. One warning, though; "Death in Venice" is a devastating film and it takes it's toll on the viewer. Watch it in the company of loved-ones and on a beautiful, sunny day.

Impressive and brave
I have recently re-visited Visconti's Venice after an absence of too many years and I am reminded again of what an impressive - not to mention brave - piece of cinema this was for its time, and continues to be.

Adapting this novella to film was never going to be easy, yet Visconti did a superb job, so, too, his actors. There are some changes from the book, with the first sixteen or so pages omitted, and I also found the film Tadzio to be more flirty than his novel counterpart, but these changes do not jar within the film.

What I found truly frustrating was that the video I have is not in wide-screen format and I did feel I was missing something happening out of shot - and I hate to miss anything in this wonderful movie.

This is not a movie for those with the attention span of a house-brick, but if you're in the market for thought-provoking and have a love for all things beautiful, this is a must-see. While the film runs for just over two-hours, it's not the sort of 2hr movie that has you checking your watch after the first hour.

Should the distributors see fit to release a wide-screen version on video - yes please, I'll have a copy of that, too.

MASTERPIECE!
Luchino Visconti's 1971 film adaptation of Thomas Mann's novel "Death in Venice" is nothing short of a masterpiece in every sense of the word. The more I watch this film, the more I realize how perfect it is.

For those unfamiliar with Thomas Mann's 1911 novel of the same name, there are a few differences. No movie that I'm aware of follows its original book to a "T". But the changes that Italian director Visconti adds to the story are intriguing and beautiful. I don't mind his personal touches in the slightest. Indeed, the film wouldn't be nearly as good otherwise.

The intuition to make the Aschenbach character really be Jewish/Austrian famed composer Gustav Mahler and set the movie's soundtrack to that of Mahler's 3rd and 5th symphonies was brilliant. I can't say if Thomas Mann originally intended the Aschenbach character to truly be Mahler in the novel or not?

Having the main character be a tired, worn out Gustav Mahler is a brilliant masterstroke of pure genius. We're left with a film that condenses everything brilliant that is Europe. Using Mahler's own music creates a depth and haunting realism to the film as well.

The casting in this film is extraordinary! You could not have casted a better cast to play these characters anywhere. The young man who plays the beautiful Tadzio looks like a Norweignean version of a sculpted Apollo youth. His features are those of a god. His silouette against the backdrop of the sparkling sea pointing out over the waters is one the most erotically charged scenes I've ever seen in a movie. It's breathtaking really, and one almost forgets the possibly taboo homoerotic connotations such a scenario is from the standpoint of the aged Aschenbach.

I have seen many films shot in and around Venice, Italy ("the Italian Job" most recently), but none have come as close to this as personifying the city and showing it as beautifully. In my opinion, Visconti's "Death in Venice" is to Venice what Fellini's "La Dolce Vita" is to Rome.

Foreign film lovers should not miss this classic. Travelers who've been to Italy, or dream of visiting one day, also should not miss this beautiful film. I may not recommend the film to younger audiences who probably aren't ready to understand why a dying man would entertain fantasies of a physical passion for a teen boy. In such cases, I would say the film is probably unsuitable for viewers under the ages of 15 or so.

The DVD has a nice picture in 16x9 widescreen for widescreen televisions and is compressed lightly with low grain and nice blacks and contrast. The sound is stereo and in the English language, so subtitles aren't necessary. The film is also shot in glorious color in a vivid but controlled manner. When I first saw this film I was sorry that it wasn't filmed in black & white, but now that I think on it, this story works better in color and the colors of this film are gorgeous. Venice always photographs well, but I have rarely seen the old city look so sumptuous as it does here. Some grade-A, top-notch cinematography went into the making of this rich and luxurious movie.

Obsession in the Time of Cholera
Based on Thomas Mann's famous novella, Luchino Visconti's DEATH IN VENICE is the account of a middle-aged man and his obsession with a teenage boy. Gustav Aschenbach, a German composer, (Dirk Bogarde) on holiday in Venice in 1911, sees the young Tadzio and his Polish family at the hotel where they are staying and becomes sexually obsessed with him. Visconti has the difficult task of keeping the viewer interested in this sometimes slow-moving film since there is very little dialogue here. (The man and boy never speak.) What Aschenbach is thinking must be shown by facial expressions and body language. Both director and actor, however, are superb in conveying what is going on inside Aschenbach's head.

DEATH IN VENICE is a beauty to behold. The opening scenes of the city are lush and beautiful; however, as the film progresses and Aschenbach begins his frenetic attempts to find out why many of the visitors are leaving Venice-- the city fathers are afraid they will lose the tourist lira if they are aware of a cholera outbreak-- the scenery takes on a sinister, deathly quality as the city becomes deserted. Visconti leaves no stone unturned in his attention to detail to create the mood and time period of this movie. Gustav Mahler's music (Bogarde looks a little like the composer) adds the final touch on this nearly flawless production.

Visconti is a master director.

Thank you for the DVD
This had been one of my favorite movies when I had seen it years ago in the theatre, but I was only able to get a VHS tape 6 months ago. Unfortunately it was a full screen version and while the movie was recognizeable, it lacked the impact that I remembered from the theatre.

This dvd makes all the difference. The sets and camera work are largely what make this movie work and the pan and scan used with the tape just about destroyed it. Now with the DVD, I can see that virtually every shot, set-up I think it is called in the business, is a work of art of composition and color. This is a film from Italy, a nation with a preeminent tradition in the visual arts and Death In Venice shows this visual sense to perfection. I have never seen another movie as artistically shot as this.

The plot and story line are very much underplayed and frankly many people I know don't get this film. The story developes, more than is told as in a conventional film. Rather than watching it, you live this movie. You watch it in delight at the what you are seeing and experiencing of being in Venice at the turn of the century. The story just sort of unfolds around around this visual experience, rather like real life.

While the picture quality of the DVD is very much better than the VHS tape, the sound is only somewhat better. Nevertheless there is less wow and flutter than in the tape or than I remember from the theatre. Unfortunately the movie predates the general adoption of stereo sound, let alone Dolby surround. Given the extensive use of music, especially Mahler's 5'th symphony, one can only dream as to what this movie would be like with modern sound. ... Read more

Description

In sweeping epic style, the prize-winning Rocco and His Brothers tells the story of four poor Italian brothers and their mother who leave their country home and move to bustling Milan with hopes of improving their bitter fortune. The family is thrown into chaos when two of the brothers are torn apart by their love for the same woman and their struggles to succeed in a viciously competitive world. French heartthrob Alain Delon is the gentle, idealistic Rocco, and Italian movie star Renato Salvatori is the undisciplined, savagely jealous Simone. Internationally renowned director Luchino Visconti (Senso, The Leopard, Death in Venice) combined keenly realistic observations and strong passions to create one of his most satisfying and deeply affecting films -restored and unedited! ... Read more

Reviews (16)

A grand effort
"Rocco and his Brothers" is one of Visconti's most famous films, yet it seems to fall flat. Four brothers and their mother journey to northern Italy to join their brother Vincenzo. While there, one amazing even after another occurs to test the bonds of the family.

The film is divided into five sections, one for each of the brothers yet the film really centers around Rocco and Simone. Simone plays the stereotypical bad boy. He comes to the north and begins to see a prostitute and to steal. His criminal impulses lead him to rape his ex-girlfriend (who at the time is dating Rocco) which seems completely out of character. Yes he has a bad streak but the scene seems contrived. He rapes the girl to hurt noth her and Rocco and then proceeds to punch Rocco to the point of unconsciousness. Up until this point he seems more of a rebel and than suddenly he turns into a hard-core criminal. Rocco's character isn't much better. He is depicted in a saintly matter and while this is purposeful, he saintliness is so extreme that one gets aggravated with the character. He constantly forgives Simone and constantly "turns his other cheek". In short, all the character are extremely stereotyped and are manipulated to fit the script instead of being believable.

The only thing that saves the film in any way is the acting. The two main brothers, Simone and Rocco, and Nadia are all played remarkabley well inspite of the despicable script. Annie Girardot who plays Nadia puts in the best performance and makes the viewer wonder if she is the only sane person in all of Italy.

A very complex movie; hard to describe or rate
"Rocco and His Brothers" is certainly a grand movie. The acting is simply superb, especially that of Annie Girardot - her character is passionate, erotic and strong, exactly the kind of woman who can rouse such fatal feelings and change fates even though she's a prostitute.

I especially admire Visconti for being able to create such an accurate and vivid portrait of Italians. I could never understand their passions, their love-hate relationships, their family ties, honesty and betrayal being so close together. Which comes first - family or justness? In short, I don't think I'll ever be able to understand the way they lead their lives and their strange outlook on life. To an ordinary viewer, like me, most of the characters, ESPECIALLY Rocco, seem to be insane...

You'd probably like to know why I didn't give this truly unforgettable movie 5 stars. The answer is simple: it was difficult to watch. Painful almost. I found myself wishing I could kill one of the main characters more than half a time. There was no relief of tension. The movie was quite long. And - I simply cannot understand the way Italians live and treat each other. It's beyond me.

I'm glad I saw this movie; it had a great impact on me. However, it was so very 'heavy' I won't watch it again for a long time... but I will. Sometime.

Nice try
"Rocco and his Brothers" is one of Visconti's most famous films, yet it seems to fall flat. Four brothers and their mother journey to northern Italy to join their brother Vincenzo. While there, one amazing even after another occurs to test the bonds of the family.
The film is divided into five sections, one for each of the brothers yet the film really centers around Rocco and Simone. Simone plays the stereotypical bad boy. He comes to the north and begins to see a prostitute and to steal. His criminal impulses lead him to rape his ex-girlfriend (who at the time is dating Rocco) which seems completely out of character. Yes he has a bad streak but the scene seems contrived. He rapes the girl to hurt noth her and Rocco and then proceeds to punch Rocco to the point of unconsciousness. Up until this point he seems more of a rebel and than suddenly he turns into a hard-core criminal. Rocco's character isn't much better. He is depicted in a saintly matter and while this is purposeful, he saintliness is so extreme that one gets aggravated with the character. He constantly forgives Simone and constantly "turns his other cheek". In short, all the character are extremely stereotyped and are manipulated to fit the script instead of being believable. Visconti just tries to cram too much into one film and in doing so loses track of his characters.

The only thing that saves the film in any way is the acting. The two main brothers, Simone and Rocco, and Nadia are all played remarkabley well inspite of the despicable script. Annie Girardot who plays Nadia puts in the best performance and makes the viewer wonder if she is the only sane person in all of Italy.

All In The Family
For years now my favorite Luchino Visconti film has been "Ludwig". His grand sweeping epic. I've always felt that was his most ambitious film. True, Visconti has made other film that are great in their scope like "The Leopard", or "The Damned". But, none has touched me on such a personal level as "Ludwig", and then I saw this film. While, I admit, I don't think it's as grand as "Ludwig", "Rocco and his Brothers", is a powerful, emotional, saga.

Luchino Visconti is a director whom I've always had wonderful things to say about. He is one of my favorite directors of all time. And I always feel there is something to admire about all of his films, even those I may not be crazy about, I still found something good to say about them.

"Rocco and his Brothers" is a story about a family of five brothers and their mother who move from the country into the city. The brothers are played by Alain Delon (Rocco), Renato Salvatori (Simone), Spiros Focas (Vincenzo), Max Cartier (Ciro), & Rocco Vidolazzi (Luca). The movie creates little episodic chapters for each brother. Telling you briefly something about them, in about 30-40 minutes.

Now, the only fault I have with the film is, I feel it doesn't devote enough time to all the brothers. For instance characters like Ciro or Luca are not given much depth. Very little is known about them. The role of Vincezo is so-so, over-all, it is better than the other two brothers. What really makes the movie so wonderful are the three focal characters; Rocco (Delon), Simone (Salvatori) & Nadia (Annie Girardot) a woman of the streets who begins a love affair with Simone, and then starts a rival between two of the brothers, I honestly don't want to give too much away. But they have the best parts. It is because of them the movie has as much heart as it does. Visconti does an amazing job directing them. And it is because of the story-line concerning these three characters that I can "forgive" the film's short comings with the other characters.

Though the film is hard to find, just keep looking. It will all be worth it. I personally wouldn't recommend buying the film on vhs...if you have a dvd player, your better off buying the dvd... . I was lucky and saw the movie on TCM.

"Rocco and his Brothers" is a film Visconti fans should be pleased with. Those of us who have seen will never forget the impact it left on us the first time we saw it.

The rest of the cast includes; Katina Paxinou (Rosaria, the mother), Alessandra Panaro (Ciro's fiancess), and Claudia Cardinale (who plays Ginetta, Vincenzo's wife. She of course would be a major star appearing in other Visconti films like "Conversation Piece", and "The Leopard", also "Big Deal On Madonna Street" and Fellini's "8 1\2")

Bottom-line: One of Luchino Visconti's most absorbing dramas. A film of tremendous heart and passion. With standout performances by it's three lead stars.

SOUL MURDER
Luchino Visconti's Marxist take on the changing Italian society circa 1960 was one of the most controversial and influential movies of the early 60's. Like LA DOLCE VITA it caused a sensation in the US and made an instant, international star of Alain Delon. Visconti mixes Old Testament themes starting with the expulsion from Eden & Cain and Abel, throws in lots of Dostoyevsky & even some of Bunuel's VIRIDIANA. It's quite a stew but I never heard anyone say they were bored. As the mother Katina Paxinou who was Jean Simmons' vile governess in THE INHERITANCE chews up enough scenery for 10 movies. Annie Giradot playing a prostitute gives such a vibrant performance that you wonder why she appeared here in only 2 or 3 movies over the next 30 years. Alain Delon's Rocco is a beautiful Prince Myshkin but he's very bland. As Simone his immediate older brother Renato Salvatore exudes so much animal magnatism he may have you jumping out of your skin. When he seduces Rocco's middleaged employer (to rob her) half the audience wishes they were she. Giuseppe Rotunno's beautiful black & white cinematography often acts as a commentary on the action especially in the scenes of more than graphic violence. Nino Rota wrote the fine score. ... Read more

Description

A decadent German family of great wealth wallows in its own decay as its factories produce armaments for Hitler and his followers. ... Read more

Reviews (20)

Twilight of the Industrialists
"The Damned" is an entertaining soap opera concerning the destruction of a German Industrial family during the early years of Hitler's consolidation of power. There are many very good performances in this movie such as Dirk Bogarde, Ingrid Thulin, Helmut Greim, Charlotte Rampling (seen in the recent Swimming Pool), and especially Helmut Berger who is evil personified as Martin Von Essenbeck. Luchino Visconti directs the movie with operatic opulence though there are a few sections in the movie that tends to slow to a crawl. Despite these moments, you will find yourself immersed in a compelling story. I have to agree with other reviewers who are critical of the sound, as I occasionally activated the subtitles to catch what was being said.

Finally, regarding whether or not The Damned has in fact been edited to an R rating. I saw this movie in a theater when it was first released, and while I will concede that my memory may be flagging, I honestly do not recall any scene that has been trimmed. I believe that the X rating in 1969 is a reflection of the moral standards of the period. This movie includes issues of rape, pedophilia, and incest which were taboo in movies during this period. Think of the landmark X rated movies such as "Last Tango in Paris", and "I am Curious Yellow". In both cases, seen by today's rating standards, these two movies only warrant an R rating. I believe "The Damned" falls into the same category.

Mesmerizing
I was quite young when The Damned was originally released, but remember the controversy when it played on television in the mid 70s. The DVD release was my first opportunity to see it, and I did so with apprehension. I have seen Pasolini's "Salo" and wished I hadn't, and I still don't have the nerve to watch an "Ilsa" movie, so I wasnt quite prepared for what turns out to be a lush and gorgeously photographed family psycho-drama. Its a difficult film to wrap around, I felt a lot of the dialogue was dull and mundane and on second viewing I had to watch it with the closed captioning on just so I could absorb the first half hour. Im not very familiar with Italian filmmaking styles but I can see the influence of this movie in Coppola's The Godfather, from the "look"* down to the story structure and pacing. Not understanding the historical significance of some of the background events, the burning of the Reichstadt and the night of the Long Knives, didnt make my first viewing any easier. But Ive watched it 4 times in the first month of release and I am very happy with the purchase of the DVD and feel I have received my entertainment dollars worth. Its a big fat scandalous family saga!

*"the Look" of the damned is nothing short of beautiful: the clothes and fashions of early 1930s Europe, the oppulance of the Von Essenbeck's home, the use of the color red against sombre tones. Mesmerizing!

Yuck
Wallowing around in all of the sensationalism is an interesting story--about how the German upper classes tried to use Hitler and wound up being used by him--and how a lucky few, particularly the Krupp family, lived to tell about it and keep getting rich . . .

Unfortunately, this story gets lost because of two things--the Marxist viewpoint of the script, which sees Hitler as the natural product of capitalism (Hitler was the product of a lot of things, but he wasn't natural and whatever the numerous flaws of this particular economic system, it has yet to produce a fascist dictator is this country) and Visconti's determination to prove just how bad the Nazis were by piling on the perversions, never more so than in the character played by Helmut Berger, the cross-dressing, child-molesting, drug-abusing, mommy-loving Nazi. Apparently, just oppressing the entire German population, murdering six millions Jews, and starting World War II just wasn't wicked enough--to make sure we really hate the guy, he has to shoot up and wear nylons as well . . . Saddest of all, the film completely lacks the combination of epic sweep and intimate storytelling that characterizes Visconti's best films, such as SENSO and THE LEOPARD. It moves like lead, is lit like a campy horror film, and reduces one of the great evils of world history to camp. And that is a crime against art.

GREAT FILM - VERY BADLY PRODUCED DVD
Oh, how disappointing! This is such a great movie and it deserves better treatment. As somebody already pointed out, the sound is aweful, but the compression as well is so low en. It just looks aweful! Shame!

EXCELLENT ... DVD!
I posted earlier in anticipation of this DVD and my expectations were far exceeded! Thank you Warner Bros! By now you've probably read the plot about a rich, decadent family's empire crumbling in sync with the rise of the Nazi party. This DVD is the ultimate way to experience the film!

First off, this is indeed the UNCUT VERSION, don't let the R rating fool you. It runs 157 minutes (as compared to my old 147 minute VHS tape), and according to the MPAA ratings database, this uncut version was resubmitted this year and received an R rating (it was originally X-rated in 1969). Way to go WB DVD giving us this classic in all it's uncut, shocking glory!

Also, the quality of the DVD is probably as good as it's going to get! No need to complain when we've got a widescreen uncut print on our hands, right? The movie is old so it's not going to look clean and crisp and new like a DVD of "Daddy Day Care" or "Gigli." I'm just glad it's out on DVD now and I hope that in this format the movie will now be discovered by people who haven't yet seen it.

Maybe I'm hyping it up too much, and I'm sure a lot of people will disagree with me and find the movie too boring, but it takes its time and after watching it, you look back and everything you've been exposed to in the film seems like an unsettling dream. That's entertainment! ... Read more

Amazon.com

Ossessione isn't just the finest film version of The Postman Always Rings Twice, James M. Cain's classic tale of murder, betrayal, and erotic obsession; it's also the first masterpiece of Italian neorealism and a key historical precursor of film noir. A handsome drifter (Massimo Girotti) fetches up at an isolated roadhouse, gets mutually besotted with the proprietor's sultry wife (Clara Calamai), and has soon carried out a plot to murder the older man in an apparent off-road accident. That's only the beginning, of course. In his directorial debut, Luchino Visconti weaves a sensuous, tragic spell, born equally of the stark, sun-struck settings--especially those utterly realistic yet somehow otherworldly highways, elevated above the surrounding marshland--and a dynamic camera style that lifts the storytelling to operatic heights. Yet another layer of erotic complication is added by the presence of "La Spagnolo" (Elio Marcuzzo), a philosopher-king of vagabonds who--like the director--is at least as infatuated with Girotti's studly beauty as the heroine is. --Richard T. Jameson ... Read more

Reviews (8)

Traumatic but absorbing ride
Unhappy people in unhappy circumstances. Gino is a drifter. Not because he has no talent. He is a lost soul looking for an undefined future and is determined to not be tied to anything until he finds his personal nirvana. Giovanna wants the security of being settled, but is unhappy with the man who made it possible. She too, is a lost soul in search of an undefined future. With only passion as a common denominator, they cast their lots with each other and start in motion a chain of events that brings none of the joys anticipated.

Don't expect this movie to be a study of life in WWII Italy. Though made during the war, it is never an issue. Indeed, with the prevalence of young men throughout the movie, it is more likely an image of pre-war Italy. And although some reviewers speak of subtle references to homosexuality, such is unnecessary in describing the Spaniard. Identical scenes in American Westerns are understood to be simply friendship and the necessities of circumstance, i.e., one bed and two people in need of sleep.

Every nuance of the movie hinges upon the passion of Gino and Giovanna, complicated by his desire to be going somewhere, anywhere, and her desire to remain settled. It's a traumatic but absorbing ride, even with the distraction of reading sub-titles.

FATALISTIC NEO-REALISM.....
Early Italian version of James M.Cain's "Postman Always Rings Twice" by Luchino Visconti is the best I've seen. Set in a sparse Italian village in the white heat of summer, a drifter named Gino begins an affair with Giovanna, the unhappy wife of a cafe owner who offers him work. She tries to leave with him but returns to the husband afraid of giving up what little security she has. The drifter continues on the road and takes up with a self-styled King of the Vagabonds who does street shows and happily lives on nothing. The vagabond is attracted to Gino but Gino (who's hungry for more out of life) can't forget Giovanna. Later, Gino's and Giovanna's paths cross again and murder binds them together in a fatal (and ironic) bond. Earthy and stark storytelling as well as excellent cinematography make this a compelling film to watch. The acting is remarkable as is the casual sexual frankness that was off the screen in American films at the time. The utter desperation of the two characters' lives is beautifully realized and is nicely contrasted with the vagabond's existance that he is clearly happy with. The ending is unforgettably done. "Ossessione" is rich with atmosphere and detail and laden with irony. Highly recommended as a vintage classic of Italian cinema.

Visconti's First Film
As many of you know, this is the first film adaptation of James M. Cain's novel, "The Postman Always Rings Twice", but there's something, that to me is even more important than that. It was the first film made by one of my favorite directors, Luchino Visconti.
Before I saw this movie, I think like most I saw the two American films first. When you watch those movies first and try to compare it to this, this one will come off being much different. It doesn't seem to follow the same formula. There were two things that bothered me about this movie and they both deal with the same thing, the death of the husband. First of all I didn't like the way the idea was approached. There wasn't much of a lead in. Though, in fairness, we do "sense" it will happen. Secondly, if you remember in the American versions, remember how well planned out everything was? They both made sure that they had all the angles figured out. They made sure they had a witness seeing that the husband was drunk. That was something I liked about the movie. How it showed this "perfect" plan. Visconti doesn't allow such detail into the actually murder scene. Infact, he offers none. Does that ruin the movie? No, but, it would have been nice if Visconti would have given the movie more detail.
Clara Calamai plays Giovanna Bragana the unhappy wife who wants to murder her husband. Massimo Girotti is Gino Costa, the man who help Giovanna kill her husband, so they can be together. Finally there's Juan de Landa, the husband. Now most of the movie follows the story most of us are familiar with. There are some small changes in this movie though. I can't clearly remember the American movies, but I don't remember in either one, the woman coming on to the guy first. In this movie it's the woman that makes the first move.
Luchino Visconti to me has always been a bold filmmaker. He made the kind of films he wanted to make. All of his films, including this one, are all about much more than meets the eye. This movie for instance isn't just a movie about a murder, it goes deeper than that. Or what about "The Innocent". It's not just merely a movie about a man having an affair. Visconti is making a comment on high society. Though, of all the Visconti films I have seen my favorite would probably be "Ludwig".
If you've never seen a Visconti film, I'm not quite sure this is where to start. "Ossessione" is a good movie, but, I don't think it captures Visconti's style at his best. You should see this movie though, but, maybe after you've seen "The Innocent", "The Leopard", & "Death in Venice". From the three versions of this story I think this one and the 1946 version our my favorite. Most people didn't like the 81 film.
Here's a little triva for everyone. Did you know that French filmmaker Jean Renoir gave Visconti the idea to make this movie? Did you also know that Visconti never read the book. Renoir gave him a Frenh translation of a script made before.
Bottom-line: An effective adaptation of Cain's classic novel. Good directing by Visconti and a talented cast. Visconti's first movie showcases the genius that would come in his later films. Very entertaining film.

DO NOT MISS THIS!
This is one of the sexiest movies of all time! Pre-dating the Italian Neo-Realist wave of film-making by just a couple of years, its influence can be felt in the the movies of film-makers such as DiSica and Rossellini.

The REAL version
Yes, this IS the best filmed version of James Cain's classic The Postman Always Rings Twice. The first version, with Lana Turner and John Garfield, was much too tame and polite. When the husband gets bumped off, it's a matter of fact event, as though the two lovers were going out shopping for wallpaper. And the eroticism of the story is just not there at all--nor is the desperation.

The 1981 version with Jack Nicholson and Jessica Lange certainly showed off the sexuality of the story, but was much too vapid and superficial; the director, Bob Rafelson, had apparently decided that the story's core was its sexuality and so focused on that at the expense of pretty much everything else. The desperation that should be brimming over in the development of the story is really not in evidence in this version--the two good looking leads basically just want to have sex a lot and that's what they do. They yell and scream, too, but it's the sex that everyone remembers in this film.

But Luchino Visconti, in this 1943 Italian neo-realist noir, gets it just right. Eroticism is here, but so is desperation, which is just as important, if not more so. This comes through so well because the setting is a small Italian village where there are no really wealthy folks. Everybody's engaged in his or her small activities to get by. The one exception is Giovanna's paunchy husband Giuseppe who's squirreled away a lot of dough.

And the desperation comes through in the doomed couple--Gino the drifter and Giovanna, the wife. Gino's labile temper and emotionality are well portrayed by Massimo Girotti, and Clara Calamai balances Girotti's performance with her depiction of Giovanna as a wife desperate to be free of her gross (to her) husband. The story introduces characters and situations that epitomize Italian culture--an opera singing contest, for example--but follows Cain's story closely enough to make this an early film noir, albeit a non-American one.

Even above eroticism and desperation, the overriding tone of this story is irony--unquestionably missing in the first American version, and only half-heartedly on display in the 1981 version. But irony is the soul of this film. The tragic ending is the most bitterly ironic scene here, and it is done simply--thus, very effectively. Visconti was intelligent enough to see that simplicity, combined with an emphasis on strong emotionality, would carry this ironic story through to its supremely ironic ending.

This is a surprisingly strong film for a first directorial effort, and one that should be remembered for some time to come. It's interesting that a non-American director made the best cinematic version of a seminal American noir story. ... Read more

Description

The second haunting film from director Luchino Visconti presents a wrenching study of a family struggling to find happiness against the backdrop of Sicily's fishing community. Real Sicilian locals played all of the villagers, whose lives undergo dramatic changes when they plot to overthrow the wholesalers depriving them of a decent living. Against the odds, they still enjoy love, laughter, and friendship within their community. Experience the drama and visual poetry of this international classic, now presented in its complete European cut. ... Read more

Reviews (3)

What We Need are Tax Cuts for the Fishermen
I had read about this movie because it comes up on an occassional "All Time Greatest Movie" lists. As such, I was aware of the fact that the movie was made with a complete cast of amateurs taken from a Sicilian fishing village which was also the location of the movie. The opening credits substantiate that by not naming the actors but, rather, citing them as the people of the village. They do a very good, sometimes excellent, job. There might not be an Academy Award-level preformance in the bunch but they out-shine the cast of most "B" movies I've seen. In fact, only the person who plays Mara's boy friend, the mason, give anything like a one-dimensional preformance and it is mostly noticeable by how it stands apart from the others.

The story is that of a struggle against the powers that be; sometimes the powers are people, sometimes it is nature. The focus is on one family who tries to overcome their poverty by buying their own boat and becoming their own boss. The instigator is the son, Ntonio, who has been in the army and seen the outside world. He is ready to level the playing field and, at first, the family succeeds. However, the writer/director Visconti does not intend to give us a quick happy ending. Misfortune strikes and we see success turn to failure. The movie becomes a sort of Marxist message that only when everyone works collectively for the common good can we all succeed. However, I did not feel that this message was overbearing to the viewer who is not inclined to buy into that philosophy. There is much in the movie that could even substantiate Capitalism. Look, for example, how Ntonio and his family succeed when they save up their money, mortgage their house and go into business for themselves. The writer/director's point might be that their own greed led them to failure but it could easily be just a twist of fate that kept them from rising to the top. This example of individual initiative is a powerful part of the story. Nonetheless, it is the depths of the descent that comes after success that takes us through the film.

I rated this film a "5 star" because of its' cinematic achievement. Visconti worked something short of a miracle on a shoestring in putting this film together. On the negative side, the movie is too long (Visconti appartently had to "cut" it to 160 minutes). In addition the politics is too one-sided. I don't profess to know how things were in a post-war fishing village in Sicily. I presume that much of the scenarios presented are close to the reality of the time and place. However, nothing succeeds like a good example and the idea that no one would attempt to duplicate the family's idea struck me more as a comment on the fishermen than a comment on the system. Still, the interpersonal relationships and the life in the village are brought to the screen in such an excellent way that I'll let the politics be.

Visconti Goes Fishing
I've searched a very long time to see this movie. I've noticed that all of Luchino Visconti's films are extremely hard to obtain. Now that I have finally seen this movie I have seen everything that is available on vhs or dvd by the great Visconti.

"La Terra Trema" reminds me heavily of a film Visconti would make later entitled "Rocco & His Brothers". Both films deal with poor Sicilan families trying to make a living. Each family facing the injustice of the upper class vs the lower class. But between the two I must admit I prefer "Rocco..ect". Because it seems to be more about plot. "Rocco" has more of a story to tell. And it's three lead characters make the the movie. "La Terra Trema" is a little short on plot. And the film goes on way too long. The movie is over 2 hours.

"La Terra Trema" is about the local fishing community. About the hardships the fisherman face when trying to sell their fish to the merchants. The merchants it is felt are cheating the fisherman out of decent pay. The begining moments of the film work quite well. But the plot cann't sustain the entire lenght of the plot. If this movie had been cut down to at least let's say 1 hour and 45 minutes this could of truly been an unforgettable Visconti masterpiece. As the film is now it's an enjoyable over-long Visconti epic and has choice acting moments,by non actors, & beautiful cinematography.

Luchino Visconti is one of my all-time favorite film-makers. He had an unmatched talent for details. He has given us so many entertaining films such as "Ludwig", to me his masterpiece. Also "Rocco & His Brothers", "The Damned", & "The Innocent", his final film. "La Terra Trema" belongs high up on Visconti's list of films. If anything just for the acting. *** 1\2 out of *****

Bottom-line: One of Visconti's best films. A little long but has it's share of strong moments. Worth while for all Visconti fans.

The Beauty of Deprivation
I have had something like a thirty year desire to see this, director Luchino Visconti's second film. To my knowledge, it has never enjoyed wide theatrical distribution, which given its content and tone, is hardly surprising. A relentlessly downbeat view of the lives of Sicilian fishermen, it's also a tad on the long side. Still, to have it available on video is a wonderful treat. I can't imagine myself watchiing it frequently, but it has a compositional integrity that more than compensates for the depressing subject matter.

Never having seen the film projected, I cannot gauge the effectiveness of the video transfer. My guess is that it is so-so: good enough to give a sense of what the film looks like but not produced with enough care to bring out all the richness of detail and contrast. The opening credits, for example, superimposed over images of dawn in the fishing village, are barely intelligible. With a little more effort, the disc producers could probably have found a way to make the sequence work on video. As it is, we more or less have to imagine what it would look like.

"La Terra Trema" is Italian Neorealism at its most epic. Unlike De Sica's "Bicycle Thief," for example, which reveals the tragedy of one man's decline, "Terra" self-consciously uses the Valastro family as an example of a larger phenomenon. Visconti makes no effort to conceal his political prejudices, at one point clearly identifying the corrupt, exploitive wholesalers with the recently deposed Mussolini regime while relentlessly identifying the central characters' problems with social and economic forces.

The hopelessness of the situation is relieved only by the internal cohesion of the family which, nonetheless, undergoes severe tests. While we can well imagine the Valastros sinking even lower after the film's ambiguous ending, what is most striking about the film more than fifty years after its release, is its essential *optimism.* The call for a united front to withstand exploitation is good, old-fashioned Marxism at its most bald and unapologetic. The film's unabashed faith in human nature and the possibility of positive change feels not so much naive as nostalgic, the product of a time when it was still possible to believe in broad, systemic change. Wrapped in Visconti's well-known eye for sensuous spectacle, "La Terra Trema" is a good two-and-a-half hour tract just shy of convincing. ... Read more

Reviews (7)

They don't know what is on the package.
I just bought this film on VHS produced by Fox Lorber Home Video, to my surprise ( or shock ) I found in the box that the leading male actor is Stewart Granger !!!! instead of poor Farley. And this mistake is repeated all over. This is just poor merchandising. It just happens poor Farley gained inmortality by starring in this movie.

The most beautiful film of all times
It's difficult to find, in all the history of the cinema, a so beautifull, sugestive and deep work like this masterpiece of Luchino Visconti. Glorius technicolor, a magnificent cast (even Farley Granger, a very limited actor, is splendid here),dialogues by Tennessee Williams and a wonderful historical recreation of the "Risorgimento", plus a musical score by Verdi and Bruckner make this film a permanent pleasure for persons of good taste. In my opinion the best film of Visconti and perhaps the most beautiful film of all times.

operatic stories should stay at the opera
what a pitty, to waste this cast on such a screenplay. in fact, if one looks better one can find that the source of the story was boito--the same as arrigo boito, the author of mefistofele and libretist of his time.

the characters are out of place, and the story syncopated.

Bellissimo
One of Luchino Visconti's top four or five masterworks. This baroque but magnificent evocation of the Garibaldi period of Italian Revolution in late 19th century is truly one of the great Italian masterpieces of 1950s. The film brilliantly delineates the erotically charged love story between Alida Valli (her best performance ever) and Farley Granger, and the bitter legacy of the revolution. History and Romance merge in a way only Visconti knew how. And the result is an operatic realism at its highest order. Despite the great, heart-renching performances, though, the film's fascination and power lies the sumptuous "look", the realistically accurate detail of that period. Visconti's unique attention to detail is breathtaking. Some may find SENSO crudely melodramatic and is certainly a notch below Visconti's best film, THE LEOPARD (which also features Burt Lancaster's greatest performance); still, it cannot be ignored. It is a must-see if you want to find out why Visconti was one of the great film artists who ever lived.

Visconti Magic
Set in the 19th century durning the Italy's resistance to Austrian occupation Visconti was able to dazzle us with a wonderful display of costume designs, production design, and all around great acting. This is course is not to mention the great directing by Visconti himself. Alida Valli starts as an Italian countess who finds love in an unusual place, an Austrian officer (Farley Granger). She begins an affair that can lead both of them into great danger. Her husband can find out and cause ridicule and shame. And as for him, he can lose his position. But, each doesn't care. They are in love! When compared to other Visconti films this one might fall short to masterpieces like "Ludwig" and\or "The Innocent". But, when judged merely as an individual film and not part of Visconti's collection it's quite enjoyable. Wonderful locations,screenplay (Visconti co-wrote the film), and pleasant music by Verdi and Bruckner. Not my favorite Visconti film, but one that would be a good film to start off with your collection of Visconti film. ... Read more