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Ossessione (1943)
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Overview
User Rating:
Release Date:
9 February 1959 (Sweden) morePlot:
Gino, a young and handsome tramp, stops in a small roadside inn run by Giovanna. She is unsatisfied... more | add synopsisPlot Keywords:
moreNewsDesk:
(2 articles)
German Tryst On 'Postman' Plot (From New York Post. 14 May 2009, 9:02 PM, PDT)
Death Of A Cyclist
(From The AV Club. 29 April 2008, 9:02 PM, PDT)
User Comments:
A haunting tale of greed and desire. moreCast
(Complete credited cast)| Clara Calamai | ... | Giovanna Bragana | |
| Massimo Girotti | ... | 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) |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
140 min | Germany:104 min (cut version) | Japan:118 min (cut version) | USA:112 min (cut version) | USA:134 min (International Media print)Country:
ItalyLanguage:
ItalianColor:
Black and WhiteAspect Ratio:
1.37 : 1 moreSound Mix:
MonoCertification:
USA:TV-14 (TV rating) | Finland:K-16 (1986) | Germany:12 | Germany:18 (original rating) | Sweden:15 | Australia:PG | UK:PGFun Stuff
Trivia:
The film's negative has been destroyed by the fascists. Director Luchino Visconti managed to save a print. moreSoundtrack:
È il sol dell'anima, la vita è amore moreFAQ
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Recommendations
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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.