IMDb > Ossessione (1943)
Ossessione
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Ossessione (1943) More at IMDbPro »

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Overview

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Popularity: ?
Down 13% in popularity this week. See why on IMDbPro.
Director:
Writers:
Luchino Visconti (scenario & dialogue) &
Mario Alicata (scenario & dialogue) ...
(more)
Contact:
View company contact information for Ossessione on IMDbPro.
Release Date:
9 February 1959 (Sweden) See more »
Genre:
Plot:
Gino, a drifter, begins an affair with inn-owner Giovanna as they plan to get rid of her older husband. Full summary » | Add synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
Much ahead of its time and still powerful See more (39 total) »

Cast

  (in credits order) (verified as complete)

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)
rest of cast listed alphabetically:
Michele Sakara ... Il bambino (uncredited)

Directed by
Luchino Visconti 
 
Writing credits
Luchino Visconti (scenario & dialogue) &
Mario Alicata (scenario & dialogue) &
Giuseppe De Santis (scenario & dialogue) &
Gianni Puccini (scenario & dialogue)

James M. Cain  novel "The Postman Always Rings Twice" (uncredited)
Alberto Moravia  uncredited
Antonio Pietrangeli  uncredited

Produced by
Libero Solaroli .... executive producer (uncredited)
 
Original Music by
Giuseppe Rosati 
 
Cinematography by
Domenico Scala (photographed by)
Aldo Tonti (photographed by)
 
Film Editing by
Mario Serandrei 
 
Art Direction by
Gino Franzi 
 
Set Decoration by
Gino Franzi 
 
Costume Design by
Maria De Matteis 
 
Second Unit Director or Assistant Director
Giuseppe De Santis .... assistant director
Antonio Pietrangeli .... assistant director
 
Art Department
Italo Tomassi .... scene painter (uncredited)
 
Sound Department
Tommaso Barberini .... sound recordist (as Barberini)
Arrigo Usigli .... sound recordist (as Usigli)
 
Camera and Electrical Department
Osvaldo Civirani .... still photographer
Gianni Di Venanzo .... camera operator (uncredited)
 
Editorial Department
Vincenzo Genesi .... negative cutter: Tecnostampa
 
Music Department
Fernando Previtali .... conductor
 
Other crew
Camillo Pagani .... production coordinator
Giovanna Valeri .... production secretary
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Obsession" - International (English title) (literal title)
See more »
Runtime:
140 min | Germany:104 min (cut version) | Japan:118 min (cut version) | USA:112 min (cut version) | USA:134 min (International Media print)
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Australia:PG | Finland:K-16 (1986) | Germany:12 | Germany:18 (original rating) | Japan:PG12 (2017) | Sweden:15 | UK:PG | USA:TV-14 (TV rating)
Filming Locations:

Did You Know?

Trivia:
The film's negative was destroyed by the fascist government of Benito Mussolini during the war years. Director Luchino Visconti managed to save a print.See more »
Movie Connections:
Referenced in Scorsese on Scorsese (2004) (TV)See more »
Soundtrack:
Je crois entendre encoreSee more »

FAQ

This FAQ is empty. Add the first question.
80 out of 81 people found the following review useful.
Much ahead of its time and still powerful, 3 November 2003
Author: debblyst from Rio de Janeiro, Brazil

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.

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