Obsession

TCM is keeping me awake all the time... they keep coming up with films Ive never heard of ... Senso.... now Ossessione... a very early film by Visconti!!... wow... the Italian version of The Postman Always Rings Twice...brilliant!! beautifully acted and directed ...Never heard of either leads who were excellent, Clara Calamai,as Giovanna, and especially, Massimo Girotti as Gino... what a sensual man !! more muscular and attractive than anyone else on the screen in 1943!!! His look was ahead of its time...many male stars from the 1950s were probably inspired by him... he should have been a major world wide star!! The film is much better than the Jack Nicholson/Jessica Lange version and less glossier than the MGM version (which I really like) with John Garfield and Lana Turner remember that white outfit ? who can forget.... This Italian version is different ..more realistic and with a very different ending... see it watch it...Im going to buy it !!

I'll be upfront - I know nothing about Italian neo-realism, and the only Visconti movie I'd seen prior to this was his silly but enjoyable nazisploitation classic 'The Damned'. But I'm a great fan of James M. Cain's pulp crime classic 'The Postman Always Rings Twice', and this superb retelling of it fascinated me from beginning to end. A few crucial plot points are changed, an interesting supporting character ("The Spaniard") has been added, and the movie has a very different tone from what Cain fans might expect. The original novella, and the subsequent Hollywood versions of it (in '46 and '81) are thrillers, 'Ossessione' isn't. It's more of a story of a doomed love affair. The basic plot is the same - a drifter has a passionate fling with an unhappily married woman and helps her murder her husband - but Visconti approaches the material in a very different manner. The movie is brilliantly filmed, and the acting by the three leads are first rate. You really get a genuine insight into 1940s Italian working class life. The character of The Spaniard adds an interesting touch to the story with a possible homosexual relationship between Gino and himself. It's very subtle but it's there if you look. I thought making Giovanna pretty but not a complete bombshell like Lana Turner added to the realism and credibility of the story. I also was impressed by the small role played by the dancer/part time prostitute Gino buys an ice cream for towards the end of the picture. She doesn't get much screen time sadly, but she is really wonderful. The movie is surprisingly frank for the time and period (Mussolini's Italy), much more realistic and earthy than Hollywood movies of the same period. If you are looking for a straight forward thriller then the Lana Turner/John Garfield version of 'The Postman Always Rings Twice' is probably the better place to start, but if you want to see a brilliant drama then this is the superior movie in my opinion.

Visconti's first feature, Ossessione is an adaptation of James M. Cain's The Postman Always Rings Twice. Now, I'm not familiar with that book or the other film versions, but I am a big fan of Cain's Double Indemnity (much more so than I am a fan of Billy Wilder's film version of it, in fact). The two novellas seem like they must be very similar. Both involve an illicit love affair where a ravenous wife complains to a morally weak man that her husband is worthless and mean to her. Giovanna, the woman in this Italian version, played very well by Clara Calamai, is not evil incarnate like the wife in Double Indemnity, but she seems very spoiled. Her husband (a great performance by Juan de Landa) is a bit cruel to her, but she strikes me like she is at least as uncompromising with him. He's older than her and unattractive, so she's rather fickle. When Gino shows up, a young, muscular man, it takes her about five minutes to get him into bed. She sweats she wants to be with him forever, but she's stuck with her husband. They break up at first, but when they meet again, they (apparently, although this is intentionally vague) plan to murder the husband. They are successful, and they move back to the woman's home town to run the bar that her husband owned. Gino is very unenthusiastic about this idea. He wants Giovanna, but the one thing that he certainly doesn't want is to sit around in one place for the rest of his life. Their relationship quickly crumbles. Ossessione is a very complex film with complex characters. It's always fascinating, but it does go on a bit too long. At two hours and twenty-two minutes, I can't, for the life of me, figure out how it took that long! This is partly due to the neorealist stylistics that Visconti was inventing within this film. It was, after all, the first film that won that label. We see a lot of the action prolonged as it would be in real life, without any hurrying to the next plot point. I've seen many of Visconti's films, and the only one I like better than this one is Rocco and His Brothers (1960). His direction is as great as it ever was, with the camera moving brilliantly and the editing perfect. I also feel the need to point out the film's best performance, by Dhia Christiani as a young (exotic) dancer and part-time prostitute named Anita whom Gino meets after he begins to try to break away from Giovanna. She's only in the film for maybe five or six minutes, and she has only a few lines. It's shocking how much Visconti and Christiani are able to do with this character in such a short time. She's absolutely heartbreaking. 9/10.

Wow! The sort of movie you could watch ten times and still delight in its nuances. Absolutely incredible! If this was Visconti's debut film, i shudder to think what would happen if he got any better from film to film. The only other one of his i've seen (at time of writing) is Death in Venice - which was absolutely incredible: more dazzling visually than Ossessione (Obsession). One of the most beautiful films i've ever seen, but its story was not as involving as Ossessione. If you click on "miscellaneous" on this page's links, there are stills from the movie on those websites. They won't really do justice to the experience of the movie: such graceful camera movements, such beautiful composition, such wonderful faces, such terrific characters, such a great story development, the first movie adapted from James M Cain's "The Postman Always Rings Twice."

I can't believe this was made in 43, eight years before Brando was supposed to have introduced realistic acting to the world with Streetcar Named Desire (1951). The actors in this may not have used the method technique, ie they may not have truly felt everything themselves (i don't know anything about it) - but they're some of the best, most genuine and realistic performances up to this date in cinema. Also, eight years before Streetcar Named Desire brought a new sensuality to the screen, Ossessione was electrifyingly sensual! The most sensual thing since the beginning of cinema! Yes, i'm being superlative, but Ossessione was just that terrific.

The reason Ossessione didn't cause the impact Streetcar did was that it was made in fascist Italy and banned by Mussolini, and re-cut in America. American audiences didn't see its full glory till 59, eight years AFTER Streetcar.

I won't say any more about it - just writing to tell you its one of the best, most beautiful and exciting movies i've ever seen, and tell you to go out and see it! Like another reviewer, i'm going to buy it as soon as i can find it!

Watching "Ossessione" today -- more than 6 decades later -- is still a powerful experience, especially for those interested in movie history and more specifically on how Italian filmmakers changed movies forever (roughly from "Ossessione" and De Sica's "I Bambini Ci Guardano", both 1943, up to 20 years later with Fellini, Antonioni, Pasolini). Visconti makes an amazing directing début, taking the (uncredited) plot of "The Postman Always Rings Twice" as a guide to the development of his own themes.

It strikes us even today how ahead of its time "Ossessione" was. Shot in Fascist Italy during World War II (think about it!!), it depicted scenes and themes that caused the film to be immediately banned from theaters -- and the fact that it used the plot of a famous American novel and payed no copyright didn't help.

"Ossessione" alarmingly reveals poverty-ridden war-time Italy (far from the idealized Italy depicted in Fascist "Telefoni Bianchi" movies); but it's also extremely daring in its sexual frankness, with shirtless hunk Gino (Massimo Girotti, who definitely precedes Brando's Kowalski in "A Streetcar Named Desire") taking Giovanna (Clara Calamai), a married woman, to bed just 5 minutes after they first meet. We watch Calamai's unglamorous, matter-of-fact undressing and the subtle but undeniable homosexual hints between Gino and Lo Spagnolo (Elio Marcuzzo - a very appealing actor, his face not unlike Pierre Clémenti's, who was shot by the Nazis in 1945, at 28 years old!)...In a few words: sex, lust, greed and poverty, as relentlessly as it had rarely, if ever, been shown before in Italian cinema.

All the copies of "Ossessione" were destroyed soon after its opening -- it was called scandalous and immoral. Visconti managed to save a print, and when the film was re-released after the war, most critics called it the front-runner of the Neo-Realist movement, preceding Rossellini's "Roma CIttà Aperta" and De Sica's "Sciuscià". Some other critics, perhaps more appropriately, saw "Ossessione" as the Italian counterpart to the "poetic realism" of French cinema (remember Visconti had been Renoir's assistant), especially Marcel Carné's "Quai des Brumes" and "Le Jour se Lève", and Julien Duvivier's "Pépé le Moko".

While "Ossessione" may be Neo-Realistic in its visual language (the depiction of war-time paesan life in Italy with its popular fairs, poverty, child labor, prostitution, bums, swindlers etc), the characters and the themes were already decidedly Viscontian. He was always more interested in tragic, passionate, obsessive, greedy characters, in social/political/sexual apartheid, in the decadence of the elites than in realistic, "everyday- life" characters and themes, favored by DeSica and Rossellini. In "Ossessione" we already find elements of drama and tragedy later developed in many of his films, especially "Senso" (Visconti's definitive departure from Neo-Realist aesthetics) and "Rocco e Suoi Fratelli"...Even in his most "Neo-Realist" film, "La Terra Trema", he makes his fishermen rise from day-to-day characters to mythological figures.

"Ossessione" is a good opportunity to confirm the theory about great artists whose body of work approaches, analyzes and develops specific themes and concerns over and over again, from their first to their last opus, no matter if the scenery, background or time-setting may change -- Visconti may play with the frame but the themes and essence of his art are, well, obsessively recurrent. "Ossessione" is not to be missed: you'll surely be fascinated by this ground-breaking, powerful film.