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Adultério (1950) is a slow-burning moral drama that examines the emotional weight of infidelity with striking restraint and a deep sense of realism. It's a film that values suggestion over sensationalism, letting subtle glances and quiet moments do the emotional heavy lifting.

Set against a post-war backdrop, the film explores themes of longing, regret, and the silent compromises that define relationships. The cinematography is elegantly composed, favoring long takes and shadow-heavy interiors that echo the characters' internal turmoil.

The performances are grounded and heartfelt, particularly from the leads, who manage to convey volumes with minimal dialogue. There's a strong undercurrent of societal pressure and personal sacrifice running throughout the film, making it as much about duty as it is about desire.

A forgotten gem for fans of classic moral dramas, Adultério is a poignant look at the human heart caught between passion and conscience.

This is a murder case in which the murderer constantly finds himself more inextricable from the trap of his own passion, and as such it is psychologically extremely interesting. Marcello Mastroianni is very young here, a poor teacher struggling to survive but with a great love, Lea Padovani, who also makes a great performance. It's a bleak thriller, you lack those vital corns of humor that Vittorio de Sica always gilded his films with, like also Hitchcock did with masterly strokes, but the story here with its constantly increasing tension is captivating enough. You will never forget Marcello's eyes as Lea leaves him as he thinks for the last time believing him to be guilty, and although a comedian perfectly coupled with Sophia Loren, he made quite a few films to also prove himself capable of great tragedy. The lawyer is a heavy-weight, for that part they chose a German, Karl Ludwig Diehl, and perhaps the most interesting part is his confrontation with Marcello when he has chosen him for his lawyer. This is subtle high gear psychology in the style of Dostoievsky. The music is also remarkable, the composer is the young Carlo Rustichelli, but for the main theme of the film he has chosen Sibelius' "Valse Triste" which comes booming in from the beginning, setting the mood for the wild jealousy that is the main subject of the film.