★★ / DCP / Meandering and long, a story which should be seeped in lust and violence is strangely devoid of sexuality and tension. A subplot involving “the Spaniard” and its gay subtext seems pointless but then maybe revealing of its true nature, a story of a sexually repressed opportunist.
«I ripped all her clothes off. She twisted and turned, slowly, so they would slip out from under her. Then she closed her eyes and lay back on the pillow. Her hair was falling over her shoulders in snaky curls. Her eye was all black, and her breasts weren’t drawn up and pointing up at me, but soft, and spread out in two big pink splotches. She looked like the great-grandmother of every whore in the world.» — JM Cain
After disliking 'The Leopard' this was a neat surprise. For the first hour this boasts some incredible magnetism in its casual sex and homosexual elements, giving it a charged noir sense of excitement. Then it drops the excitement in favour of neorealist psychological depth. Visconti's work behind the camera is my favourite of his films I've seen. This lasted about 1/2 hr too long IMO, but an impressive debut.
i'm not sure what it is, but girotti & calamai have some of the best screen chemistry in history, if not the best. Also, one of Fassbinder's favorite films was Visconti's 'The Damned', and I feel like this is a really Fassbinder-like film. Wonder what it would have been like if RWF had remade it.
Next time you watch keep in mind that Visconti was homosexual, and then you can see the brilliant way he tried to express this. I wouldn't have thought so as it's a saucy story for it's time about free spirited drifter, casual sex etc, but when I read he as a life long homosexual, I started to see between the frames... Thats what I thought anyway... Not that there is anything wrong with that..
Más que romántico, este es un drama pasional. La historia de dos amantes parece ser una especie de necesidad por abandonar sus trágicas vidas. La de "aparentemente" un hombre escapando de un asesinato (o tal vez solo de esa vida errante) y la de una mujer perturbada por su marido. Nada aquí es romántico, es más casual. El amor se va construyendo bajo una fantasía.
Fondamentale film di Visconti,vero spartiacque del cinema italiano.Capostipite del Neorealismo,è un film che stupisce per l'incredibile maturità messa dal regista nel suo compimento:piani-sequenza inseriti ottimamente,primi piani intensi che esprimono passione ed erotismo(raro davvero nel 1943) e scene dosate grandiosamente,con pochissimi tempi morti(forse solo quello della ballerina).Visconti si presenta così.4*