I've always enjoyed the story that spawned two Hollywood adaptations, largely laden with sex, written by James M Cain, both called The Postman Always Rings Twice'. The first film made of it was the French 'Le Dernier Tournament', in 1939.
Luchino Visconti's debut feature, here, 'Ossessione' is accredited as being the first of the Italian 'Neorealism' movement. As is widely known, Mussolini's censors banned the film and the Fascists burned the original negative. Visconti saved a print from destruction and may explain why this transfer (the only one?) looks similar to films we usually associate with those of the mid-late 1920's, it being so poor.
Not only grainy, it almost pops in and out of focus and has scratches permanently weaving over it. The film flickers with changing amounts of light. The sound isn't much better. Despite all these technical deficiencies it is always hugely watchable and ultimately enjoyable.
Unlike those two Hollywood versions, that as I said were sexed-up, Visconti's PG certificate version is a lot more innocent and stops at kissing, which is still quite daring for its time. The rest of the story is filled up to its 140 minutes with Italian life, its people and culture, all vibrantly shot and revealed and so, marks a real contrast with the U.S versions.
The three key actors, Massimo Girotti as the handsome drifter (later played by John Garfield & Jack Nicolson), Clara Calamai as the beautiful wife (later, by Lana Turner & Jessica Lange) and Juan de Landa, the husband (later Cecil Kellaway & John Colicos) - are all well cast and play their parts well.
Apparently, it was the way that the working-class were portrayed, with loose morals that upset the Fascist censors. Thank goodness this didn't put off Visconti who later went on to make some of the most noted films in Italian film history, such as The Leopard and Death In Venice.
Luchino Visconti's debut feature, here, 'Ossessione' is accredited as being the first of the Italian 'Neorealism' movement. As is widely known, Mussolini's censors banned the film and the Fascists burned the original negative. Visconti saved a print from destruction and may explain why this transfer (the only one?) looks similar to films we usually associate with those of the mid-late 1920's, it being so poor.
Not only grainy, it almost pops in and out of focus and has scratches permanently weaving over it. The film flickers with changing amounts of light. The sound isn't much better. Despite all these technical deficiencies it is always hugely watchable and ultimately enjoyable.
Unlike those two Hollywood versions, that as I said were sexed-up, Visconti's PG certificate version is a lot more innocent and stops at kissing, which is still quite daring for its time. The rest of the story is filled up to its 140 minutes with Italian life, its people and culture, all vibrantly shot and revealed and so, marks a real contrast with the U.S versions.
The three key actors, Massimo Girotti as the handsome drifter (later played by John Garfield & Jack Nicolson), Clara Calamai as the beautiful wife (later, by Lana Turner & Jessica Lange) and Juan de Landa, the husband (later Cecil Kellaway & John Colicos) - are all well cast and play their parts well.
Apparently, it was the way that the working-class were portrayed, with loose morals that upset the Fascist censors. Thank goodness this didn't put off Visconti who later went on to make some of the most noted films in Italian film history, such as The Leopard and Death In Venice.