It would be enough to read among the writers the names of Paul Bowles and/or Tennessee Williams (who are among the greats of world literature) to see how wonderful this tale is, with its technicolor palette: from the beginning of the work at the opera it keeps on the tone of the melodrama with some battle scenes which seem to be essays of Italian Risorgimento painting.
Unforgettable performance of Alida Valli, wonderful direction, screenplay and art direction. Definitely one of Visconti's best films. A dream camera team: G R Aldo, Robert Krasker and Giuseppe Rotunno. A dream team of directorial assistants: Francesco Rosi, Franco Zefferelli, and Jean-Pierre Mocky. Tennessee Williams working on the dialogues! Believable war sequences. Actor Farley Granger was the weakest link.
A lush, Technicolor opera. A magnificence that only 'the Red Count' was capable of creating. Films like these show us that when performed with self-awareness yet diligence, melodrama can make the most common moment feel grandiose. Roger Ebert said that the film opens with an opera going on in La Fenice but the spirit of it never leaves the opera-house. He is absolutely correct. They don't make 'em like this anymore!
"I like opera on stage, less so in life" Melodrama is what our lives look like in closeup-if we look back, we see even our wildest emotions can be dwarfed by the world around us. This is one of the most magnificently operatic, expressive, boldest movies I've seen: always convincingly realistic and lived in, it becomes a nightmare and a near musical whenever it closes in on these selfish lovers. Beautiful brutality
Classique italien, classique de la narration dramatique (la passion, le secret, l'amour impossible, du Shakespeare dans les années 50), nostalgie du Risorgimento pour certains, une époque méconnue de Visconti qui ne pourra s'évader qu'à travers les grands romans, l'opéra et qui s'efforce avec Senso de se sentir plus près de ce siècle glorieux.
A great anti-Romeo-and-Juliet, with loyalty and patriotism being portrayed as the virtues that are forsaken by the selfish lovers. An indisputable genius, Visconti knew well that, even when it emanates from foolish, ignoble hearts, passion is still passion, a subject matter that — whether it’s onstage or offstage — never fails to entertain.
3,5. Senso n'est pas le film le plus réussi de Visconti ; il préfigure "Le Guépard" à cause des événements historiques qui conduiront à l'unification de l'Italie et à la fin de l'ancien monde. Malgré tout, on se délecte de voir l'aristocratie vénitienne dans ses palais magnifiques et ses villas fastueuses. L'intrigue amoureuse est certainement à prendre au second degré, comme une allégorie de la perdition.
Sumptuously produced melodrama from Luchino Visconti is a gorgeous work to revel in but the romantic plotting doesn't bare scrutiny or for that matter interest. One is set to believe in a rich romance between an Austrian officer and an Italian countess but the duplicity in the relationship is far too obvious too early. Granger comes across as such a cad that Alida Valli's performance eventually becomes ridiculous.
A departure from his prior neorealism, Senso was the first instalment in Visconti's focus on the Italian aristocracy. They don't come off well in this film, as a countess betrays her marriage and (more significantly) her country in the pursuit of a dissolute playboy. Valli puts in a strong melodramatic performance (though Granger is woefully miscast as her lover), and the Technicolor cinematography is excellent.
A story premised out of the tenets of literary German romanticism; essentially a 50s 'weepy' (but Italian), with all the melodrama that entails. I think it's fine overall (the technicolor is great), but a bit hard to fully invest in the splendor considering a lot of the flat light, staginess, etc. I actually got a kick out of the ending, even if it does reduce Franz to a cackling villain.
Not Visconti's best film. It would have been fabulous if he directed it as an opera. But on film, his lead actors appear as if over acting. But what Visconti does flawlessly, is giving us a glimpse of the the aristocratic class from the inside, as he is one.
"Senso" o el sentido. ¿Cuál? La auto-punición melodramática de --por supuesto-- una mujer. Bajo colores, bajo representaciones. Yo no veo más que un muy bello control del espacio y de los movimientos inscritos en él. Pero la auto-punición es suficiente y rimbombante.
My favourite aspect of this film is everything that goes on around the main story, which itself is fairly uninteresting to me. The costumes, the sets, the colours, and the textures come together to create a truly lush visual experience. One very distracting factor of this film is the overdubbing of English actors into Italian. It drew my attention away from the scenes enough that I was not invested in the melodrama.
With Senso film director Visconti composed a grand opera that opera director Visconti filmed. Swelling music, flowing capes, grandiose settings, love, jealousy, degradation, war, death, and over the top performances by the leads that are only permissible in an opera. As thrilling as Verdi, with a touch of Tosca.