IMDb > Senso (1954)
Senso
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Senso (1954) More at IMDbPro »

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Overview

User Rating:
7.6/10   3,328 votes »
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Director:
Writers:
Luchino Visconti (story) and
Suso Cecchi D'Amico (story) ...
(more)
Contact:
View company contact information for Senso on IMDbPro.
Release Date:
8 July 1968 (USA) See more »
Genre:
Plot:
A troubled and neurotic Italian Countess betrays her entire country for a self-destructive love affair with an Austrian Lieutenant. Full summary » | Add synopsis »
Plot Keywords:
Awards:
3 wins & 1 nomination See more »
User Reviews:

Cast

  (in credits order)

Alida Valli ... La contessa Livia Serpieri

Farley Granger ... Il tenente Franz Mahler
Heinz Moog ... Il conte Serpieri
Rina Morelli ... Laura, la governante
Christian Marquand ... Un ufficiale boemo

Sergio Fantoni ... Luca
Tino Bianchi ... Il capitano Meucci

Ernst Nadherny ... Il comandante della piazza di Verona
Tonio Selwart ... Il colonello Kleist
Marcella Mariani ... Clara, la prostituta

Massimo Girotti ... Il marchese Roberto Ussoni
rest of cast listed alphabetically:
Franco Arcalli ... Un soldato (uncredited)
Aldo Bajocchi ... Un soldato (uncredited)
Ottone Candiani ... Un soldato (uncredited)
Nando Cicero ... Un soldato (uncredited)
Claudio Coppetti ... Un soldato (uncredited)
Cristoforo De Hartungen ... Il generale Hauptmann (uncredited)
Tony Di Mitri ... Un soldato (uncredited)
Eugenio Incisivo ... Un soldato (uncredited)
Marianne Leibl ... La moglie del generale Hauptmann (uncredited)
Jean-Pierre Mocky ... Un soldato (uncredited)
Spartaco Nale ... Un soldato (uncredited)
Ivy Nicholson ... Una patriota (uncredited)
Mimmo Palmara ... Un soldato (uncredited)
Winni Riva ... La cameriera (uncredited)
Goliarda Sapienza ... Una patriota al teatro (uncredited)
Renato Terra ... Un soldato (uncredited)
Gustl Untersulzner ... Un soldato (uncredited)
Mario Valente ... Un soldato (uncredited)

Directed by
Luchino Visconti 
 
Writing credits
Luchino Visconti (story) and
Suso Cecchi D'Amico (story)

Camillo Boito (novella)

Suso Cecchi D'Amico (screenplay) and
Luchino Visconti (screenplay)

Carlo Alianello (collaboration) and
Giorgio Bassani (collaboration) and
Giorgio Prosperi (collaboration)

Tennessee Williams (dialogue collaborator) and
Paul Bowles (dialogue collaborator)

Cinematography by
G.R. Aldo 
Robert Krasker 
 
Film Editing by
Mario Serandrei 
 
Production Design by
Ottavio Scotti 
 
Set Decoration by
Gino Brosio 
 
Costume Design by
Marcel Escoffier 
Piero Tosi 
 
Makeup Department
Alberto De Rossi .... makeup artist (uncredited)
 
Production Management
Domenico Forges Davanzati .... production manager
Marcello Giannini .... production supervisor
Gabriele Silvestri .... production supervisor
 
Second Unit Director or Assistant Director
Francesco Rosi .... assistant director
Aldo Trionfo .... associate director
Giancarlo Zagni .... associate director
Franco Zeffirelli .... assistant director
Jean-Pierre Mocky .... second assistant director (uncredited)
 
Sound Department
Aldo Calpini .... sound
Vittorio Trentino .... sound
 
Camera and Electrical Department
Nino Cristiani .... assistant camera (as Michele Crisitiani)
Giuseppe Rotunno .... camera operator
Francesco Izzarelli .... camera operator (uncredited)
 
Editorial Department
Neil Binney .... color technician: Technicolor
John Craig .... color technician: Technicolor
Giandomenico Zeppa .... final colorist: digital restoration (uncredited)
 
Other crew
Mary Alcaide .... direction secretary
Gina Guglielmotti .... production assistant
Roberto Palaggi .... production secretary
Jean Renoir .... supervisor: French dubbed version
Enrico Maria Salerno .... voice dubbing: Farley Granger (uncredited)
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"The Wanton Contessa" - USA (TV title)
See more »
Runtime:
Italy:118 min | USA:93 min (edited/dubbed) | Italy:123 min (director's cut)
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Finland:K-12 | Portugal:M/12 (Qualidade) | Sweden:15 | UK:A (cut) | UK:PG (video rating) (1999) | USA:Not Rated | West Germany:18
Company:

Did You Know?

Trivia:
The film opens in La Fenice, the Venice opera house. La Fenice was destroyed by arson in 1996, but reopened in 2003. Enlarged frames of this movie were used as a reference in reconstructing it.See more »
Movie Connections:
Soundtrack:
D'amor sull'ali roseeSee more »

FAQ

This FAQ is empty. Add the first question.
2 out of 2 people found the following review useful.
Senso, 3 October 2013
Author: junkielee from Cairo, Egypt

Opens with a lush rendition of Il Trovatore at Teatro La Fenice, SENSO is an ostentatious melodrama imprinted with Visconti's pronounced blue blood opulence, retells an Italian countess' (Valli) vain and poignant attempt to pursue her one-sided affection to an Austrian officer (Granger shines in the rich Technicolor palette as an Adonis), whose misogyny and promiscuity will cause his own doom and mar her mentality up to the hilt.

The film sets its time during the fall of Austrian occupation in Venezia 1866, Valli is wavering between her bureaucratic husband (Moog) and rioting cousin (Girotti), to break loose from the stalemate, she irrevocably falls for a young lieutenant in the opponent camp, but he is no knight in shining armor but a foul and spineless scoundrel with irresistible sheen of deadly charm. Granger's gorgeous lover-boy image is a quintessential smokescreen to veil his despicable innards, but after all, it is a consensual deal despite of Valli's false hope, more significantly its anti-war signals have been forcibly cast by Granger's self-abandonment and the lousy war battlefield experienced by Girotti, which, more plausibly it is an intentional move by Visconti, a distraction from the central turmoil, but done with a tinge of amateurish fecklessness.

Valle shoulders on a profound effort to scrutinize a woman's inscrutable sexual desire which being repressed for too long, both she and Granger align themselves with Visconti's brimful-of- emotion style (again, thanks to Techincolor and the overstuffed score as well) which approximate the OTT threshold in certain degree, although falling out with Visconti eventually, Granger succeeds in bringing about his best screen persona and it was such a great era when a gay man can play an outright straight womanizer on the celluloid.

On the one hand SENSO fails to impress me as my favorite among Visconti's work of art, and scale-wise pales by comparison with LUDWIG (1972, 8/10) and THE LEOPARD (1963, 8/10), but on the other hand, only Visconti can flaunt such an overbearing melodrama with true mettle and without any compromise, a trend-setter would inspire later kindred spirits, for instance Baz Luhrmann's 3D adaption of the bourgeois sumptuosity THE GREAT GATSBY (2013, 8/10).

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