Luchino Visconti’s last film based on a novella by Gabrielle d’Annunzio is a haunting account of aristocratic chauvinism and sexual double standards in turn of the century Italy. Giannini as the psychotic husband whose lust cannot be satisfied. Antonelli as his sensitive and tormented wife and O’Neil as cunning possessive mistress.
As Martin Scorsese notes in My Voyage to Italy, no 20th Century film-maker can lay claim to the unique disposition of Count Don Luchino Visconti di Modrone, the final heir to one of Europe’s oldest aristocratic families. For much of his youth, Visconti exulted in the privileges of his lifestyle. His house was a frequent retreat for the likes of Arturo Toscanini, Gabrielle d’Annunzio and Giacomo Puccini. His lifelong engagement in theatre and opera was imbibed from an early age along with brief passions such as raising horses and maintaining stables. It wasn’t long before Visconti began questioning the limitations of his lifestyle. Inspired by his intellectual yearnings, Visconti wandered away from his comfortable shelter and visited Paris. This would be a turning point in his life. Through his friendship with Coco Chanel, Visconti met French director Jean Renoir. He served as assistant director on some of Renoir’s best films from the 30s, including Toni, Partie de campagne and The Lower… read more