Luchino Visconti

Giuseppe De Santis, Luchino Visconti, Marcello Pagliero, Mario Serandrei – Giorni di Gloria AKA Days of Glory (1945)

Quote:
Giorni di Gloria has been called “the first documentary on the Resistance” (Antonio Vitti) and “the most revolutionary film in existence” (Paolo Gobetti). I prefer the film’s own dedication:

«A tutti coloro che in Italia hanno sofferto e combattuto l´oppressione nazifascista è dedicato questo film di lotta partigiana e di rinascita nazionale»

“For all those in Italy who have suffered and fought Nazi oppression, this film is dedicated to the partisan struggle and national rebirth.”

The film is raw, brutal, humane, outraged and unflagging in its celebration of resistance in the service of political justice. The photography – credited to a dozen cinematographers, including Gianni Di Venanzo’s first film credit – is starkly beautiful. Read More »

Luchino Visconti – Lo straniero aka The Stranger (1967)

IMDB:
A man faces a trial for murder. The court is biased because of his personal qualities. Read More »

Luchino Visconti – Le notti bianche AKA White Nights (1957)

Quote:
Le notti bianche (White Nights) occupies a central position within Luchino Visconti’s body of work. In appearance at least, it consummates a break with the neorealism of the 1940s and early 1950s and looks forward to The Leopard (1963), in its rendering of subjectivity by visual style, and to Vaghe stelle dell’orsa (Sandra; 1965), in its dependence on metaphor as a structuring device. But appearances can be deceptive, for in 1960, Visconti returned to realism with Rocco and His Brothers, and in its way, Le notti bianche is also fundamentally a realist film, in spite of its excursions into fantasy. Read More »

Luchino Visconti – Vaghe stelle dell’Orsa… AKA Sandra of a Thousand Delights (1965)

Visconti’s retelling of the Electra story starts with Sandra/Electra (Cardinale) returning to her ancestral home in Italy – and reviving an intimate involvement with her brother (Sorel) which troubles her naive American husband (Craig) – on the eve of an official ceremony commemorating the death of her Jewish father in a Nazi concentration camp. As ever with Visconti, he is ambivalently drawn to the decadent society he is ostensibly criticising; and Armando Nannuzzi’s camera lovingly caresses the creaking old mansion, set in a landscape of crumbling ruins, where the incestuous siblings determine to wreak revenge on the mother (Bell) and stepfather (Ricci) who supposedly denounced their father. Something like a Verdi opera without the music, the result may not quite achieve tragedy, but it looks marvellous. The title, culled from a poem by Leopardi, has been better rendered as ‘Twinkling Stars of the Bear’. Read More »

Luchino Visconti – Ossessione AKA Obsession [+Extras] (1943)

Gino, a young and handsome tramp, stops in a small roadside inn run by Giovanna. She is unsatisfied with her older husband Bragana : she only married him for money. Gino and Giovanna fall in love. But Bragana is inhibiting for their passion, and Giovanna refuses to run away with Gino. Read More »

Luchino Visconti – Senso (1954)

Quote:
This lush, Technicolor tragic romance from Luchino Visconti stars Alida Valli as a nineteenth-century Italian countess who, during the Austrian occupation of her country, puts her marriage and political principles on the line by engaging in a torrid affair with a dashing Austrian lieutenant, played by Farley Granger. Gilded with ornate costumes and sets and a rich classical soundtrack, and featuring fearless performances, this operatic melodrama is an extraordinary evocation of reckless emotions and deranged lust, from one of the cinema’s great sensualists. Read More »

Luchino Visconti – Morte a Venezia AKA Death in Venice (1971) (HD)

Quote:
In this adaptation of the Thomas Mann novel, avant-garde composer Gustave Aschenbach (loosely based on Gustav Mahler) travels to a Venetian seaside resort in search of repose after a period of artistic and personal stress. But he finds no peace there, for he soon develops a troubling attraction to an adolescent boy, Tadzio, on vacation with his family. The boy embodies an ideal of beauty that Aschenbach has long sought and he becomes infatuated. However, the onset of a deadly pestilence threatens them both physically and represents the corruption that compromises and threatens all ideals. Read More »