★★★ / 35mm / Visconti’s operatic melodrama is embodied by a lustrous Valli, who portrays Livia with an emotional complexity, her euphoric rush of feelings, her frenzied distress. Granger, wonderfully handsome, captures the seducer who puts Livia in a trance. The film’s failure is at overdramatizing the film’s final jarring emotional shifts and portraying Livia's end as disempowering instead of liberating.
Superbe fresque historico-mélodramatique (plus de 1380 acteurs, 200 cavaliers, 800 figurants) qui nous raconte avec esthétisme et grandeur, à travers deux personnages livrés à la puissance des sentiments, un épisode douloureux de l'histoire de l'Italie. A voir ou à revoir sans aucune crainte d'un déception... www.cinefiches.com
This is a good melodrama not the best which is weird because almost every melodrama I've seen and loved with a more dynamic heroine not entirely driven by dick-lust has low ratings while this is considered a classic.. For someone of Visconti's status it could and should be a lot better for how well regarded it is but people go too hard for canonized "serious" directors.
I am aware that Senso's chockfull c̶h̶a̶r̶i̶t̶y̶ comment box won't prosper with my two cents in, but I ought to get it off my chest. All the time I watched I tried to imagine how a proponent of adverbial theory would describe the experience of this film which is at times as ornate as a Kunstkabinett, as wrought and minutely chromatic as tropical seabed. How can the sequential, pedantic strictness of adverbalists, who
Slaking the Farley Granger appetite whetted by ROPE.... So devastating. I'd give this one five stars just for the way undulating light and shadow (reflecting up off water, penetrating in from windows) bathes the lovers in a mirage the seductiveness of which you feel you could actually touch.
Luego de "Bellísima", Visconti cambia de forma radical su cine el cual obtuvo una recepción negativa tanto de la crítica italiana como extranjera al ser punto de inflexión ante el neorrealismo. "Senso" es un melodrama de una sobrecarga emocional que enfrenta al amor con el compromiso social. Son los amantes que traicionan sendos bandos viviendo sus fantasías efímeras. Soberbia puesta artística que otorga teatralidad.
Jesus Christ. I love Ludwig, but Visconti is at his worst here. The staginess and stiffness just oozes from the screen, and the direction is lazy. The actors do their best, but it seems like they're not expected to do anything at all but maybe stand and be pretty. Almost like part of the interior design.
Great script, but Visconti seems more like an interior decorator than a director here--it's as if he expects the costumes and sets to do the expressive work that should be done by montage, camera movement and mise en scene. As technique, it's timid and stagy; what it seems like more than anything else is an example of Truffaut's "tradition of quality." Fun fact: Fellini called it a "fag movie."
For the most part, this didn't hold my attention. I liked the last half hour but the rest didn't do it for me. I do understand everyone's praise of this film but the acting wasn't memorable, Alida Valli looked too old to take seriously, Farley Granger doesn't exactly remind me of a womanizer, the cinematography hasn't aged well, and the soundtrack was forgettable.