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Ossessione (1943)

7.8
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Ratings: 7.8/10 from 3,880 users  
Reviews: 32 user | 30 critic

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 ... See full summary »

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(scenario & dialogue), (scenario & dialogue), 5 more credits »
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Title: Ossessione (1943)

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Cast

Complete credited cast:
Clara Calamai ...
Giovanna Bragana
...
Gino Costa
Dhia Cristiani ...
Anita
Elio Marcuzzo ...
Lo spagnolo
Vittorio Duse ...
L'agente di polizia
Michele Riccardini ...
Don Remigio
Juan de Landa ...
Giuseppe Bragana (as Juan De Landa)
Edit

Storyline

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. Written by Yepok

Plot Summary | Add Synopsis

Plot Keywords:

love | passion | money | italy | inn | See more »

Genres:

Crime | Drama | Romance

Certificate:

TV-14 | See all certifications »
Edit

Details

Country:

Language:

Release Date:

9 February 1959 (Sweden)  »

Also Known As:

Köttets lust  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (cut) | (cut) | (cut) | (International Media print)

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

First film directed by Luchino Visconti. See more »

Connections

Version of The Postman Always Rings Twice (1981) See more »

Soundtracks

Di Provenza il mar, il suol
(uncredited)
from opera "La Traviata"
Music by Giuseppe Verdi
Libretto byi Francesco Maria Piave
Sung by Juan de Landa
See more »

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User Reviews

 
A haunting tale of greed and desire.
12 May 1999 | by (Chicago, USA) – See all my reviews

This is a haunting, powerful Italian adaptation of James M. Cain's novel The Postman Always Rings Twice directed by the great Luchino Visconti. What is so interesting about the film is that in every way it transcends it's source material to become something bolder and more original (interestingly Camus also credits Cain's novel as the key inspiration for his landmark novel The Stranger). The film has a greater power and intensity than the novel because Visconti is able to create the filmic equivalent of Cain's narrative structure but offer a more complex exploration of gender. Cain's very American novel is also uncritically fascinated with the construction of whiteness (the lead character Cora is obsessively afraid she will be identified as a Mexican and embarrassed that she married a Greek immigrant), which is not relevant to the Italian rural context that Visconti is working in. This allows the class antagonisms to take center stage and dance among the embers of the passionate, doomed love affair of the two main characters. This film is a complex, suspenseful, rewarding experience.


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