UnderstandingMovies Speech Class
UnderstandingMovies Speech Class
Filmand media studies are currently discovering ideas from art theory andhistory in certain iconology. This has resulted in greatconsideration for Ernst Panofsky and Aby Warburg’s works. The ideaof motif has led to publications like Michael Walker’s Hitchcock’sMotifs (2005), as well as the most recent article,”Medienwissenschaft der Motive” (2009) orchestrated by LorenzEngell and André Wendler. Regarded as one of the pioneers ofneorealism, the director is well known for movies such as Ossessione(obsession), La terra trema among others. The research will entailcinematic and historical context of Visconti’s film Ossessione.Additionally, it will evaluate the movie’s relation to genericmodels of representation, particularly melodrama and realism. It willalso situate the film as a pioneer of the Neorealist drive of themid-20thcentury.
Thename Luchino Visconti invokes opposing relations and imprints to theinitiated. A noble by birth yet Marxist by thought, Visconti lived alife of luxury that was continuously mocked by Leftists who includepast century’s artistes. His homosexuality subjected him to greatdoubts. At times, it expressed via contempt for others. Though notrightly appreciated outside Italy, Visconti’s career spanned over40 years in the cinema. His first encounter in the cinema was throughhis association with Jean Renoir. The last movie was produced in themid-1970s and was titled “The Innocent [ CITATION Ivo11 l 1033 ].”
Theantiquity of production of the movie Ossessioneisquite rich to the extent that it could distract viewers from itscomplex internal mechanics. The movie drew inspiration from “ThePostman Always Rings Twice” by James M. Cain. It seemed to be nomore of a melodrama with the main theme stating that crime does notpay. But for Visconti, the cinema magazine collaborators, the taskintegrated his artistic, conceptual and literary drives with tangiblehistrionic details, all within a sturdily identifiable socio-culturalbackground [ CITATION Ale16 l 1033 ].
Themovie speaks of Gino who was a drifter. He arrived at a roadsidetrattoria possessed by Bragana and promptly eyes the owner`s wife,Giovanna. The two lovers conjure a plan to kill Bragana so that theywould live together without interference. However, the proceedingsspiral out of control. The film came as a shock to many since suchthemes were not entirely addressed. As such, the content andlifestyle entailed in the film were quite unique. According toVisconti, the word “neorealism” that was first pronounced byMaria Serandrei came after viewing materials from Ossessione [ CITATION Mar112 l 1033 ].
Asper Henry Bacon assertions, Visconti strived to relay the internalaspects of his casts via their behavior and relation to theenvironment. This would capture their importance by demonstratingthem as a living part of a particular reality that in different meanscontinuously states and guides their feelings, thoughts, andbehavior. Towards the end of 1942, Visconti and his members wereclosely scrutinized by the government due to this novel approach.However, the production was allowed and the movie debuted in May1943. As such, the director assumed the government had approved thefilm which was not the case. Nevertheless, the film typified realismand was the bedrock of many other adaptations who saw the sense inrevealing the actual happenings within the society [ CITATION Ale16 l 1033 ].
Theoutrage that encircled the movie’s succeeding release, restrictionand circulation are the matter of legend. In this year, Italy wasexperiencing one of the most theatrical social and culturaldisturbance since its unification. The Allied invasion occurredmonths later after the initial release. Neo-Realism was largely areaction to the riotous climate. Ossessione’sunwelcoming worldview was a blatant test to the Fascist idea of Italyin this era. In this setting, the movie experienced significantexhibition and distribution challenges with some fascists evendestroying and cutting prints of the film. Nevertheless, Viscontiintelligently stashed an account that helped the film to survive [ CITATION Ivo11 l 1033 ].
Ifone watches the movie today, it is easy to realize it providesradical sexuality on top of the devastating aspects of its history.As depicted by the title, it primarily focuses on the damagingimpacts of sexual passion. The savagery with which Viscontiimplements his sweltering outbreak on normative idealistic is complexand powerful. It is mainly because of the key actors Massimo Girottiand Clara Calamai who relay an insistent naivety of the movie’sstory of unfaithfulness, betrayal, disillusionment, and murder. Inthe previous year, Calamai had caused a stir as she was the first oneto appear topless in the Italian cinema. Her link with riskysexuality was in Italy. Whenreading on Visconti’s life, one is hit by the imprint that inseveral facets, his lifestyle reads like a modernist book that mayhave been marked by Henry James or Visconti’s literary idol. Byconsidering Visconti’s background as well as his upbringing, itappeared natural that Visconti adapted Giuseppe di Lampedusa’s ILgattopardo [ CITATION Ivo11 l 1033 ].
Ossessionestarts with a point of view perspective. In the viewer’sperspective, one is driven behindhandthe vehicle’s windshield on an open road. The soundtrack alsostarts jarringly in a dramatic manner, especially considering thereare no scenes depicting drama as it begins. The opening is quiteintriguing as it encapsulates most of the themes entailed in thefilm. Additionally, the setting is straight forward. Though someelements illustrate the prosaic images on a different plane, itportrays mystery, excess, excitement, and melodrama [ CITATION Ale16 l 1033 ].
Thefilm has several themes targeting various groups in the society. Oneof the most evident theme entails entrapment in romantic fantasy andsexual conflict. For example, Giovanna is sneeringly infatuated withBragana`s crudeness and abrasive triviality. Though a father-husbandindividual, she is seeking to destroy him. Rather unmoved to herambitions and totally impervious, Bragana employs his power over hiswife, commanding his unexciting and unimaginative petty middle classstandards on her. In several regards, Gino exemplifies the contrastof Bragana that is young, autonomous, and untroubled he upholds hisromantic thoughts of liberty till they are blocked by his yearningfor Giovanna. Thekilling they perform to attain a closer unification fails, isolatingthem from each other. They are then entrapped in their ownobsessions. She becomes confined to businesses and accruing money heincarcerated to sexual longing and to the idea of enslavement [ CITATION Ivo11 l 1033 ].
Anothersubject that evidences more growth is the contrast between insidesand outsides. The trattoria indicated, for Gino, the locus ofimprisonment, set-up, and inactivity his counterpoint to a settingwas the open road and sea. Conversely, for Giovanna, the trattoriaimplied a secured place of security, coziness and it is due to themuch in the visceral desires on the safety that became her prison.While Giovanna continuously submerges herself in trattoriaexpediencies. In commerce, she derives individual gratification inthe yearning to replace Bragana and accept his duties. Finally, theassociation between Giovanna and Gino alter. Role reversal happens asGiovanna becomes the guard. Apart from that, romantic passion, aswell as fantasy, give way to suffocation, coercion, andpossessiveness [ CITATION Ivo11 l 1033 ].
Betrayalis another prominent theme within this film. It occurs in severaloccasions throughout the movie. While virtually every relation in themovie is viewed by more than a single party, the story displays thatthe exclusive commitments fail leading to betrayals. The dynamictranspires between Giovanna and Bragan in Gino’s perspective.Additionally, betrayal is displayed between Gino and Lo Spagnolo withrespect to Giovanna. The act of betrayal is also evident in Gino andGiovanna with respect to Anita. The movie illustrates that infidelityis everywhere. Though the treason acts do not only involve sex, it isthe most predominant manner of betrayal. The act of betrayalculminates via the killing of Bragana. First, Giovanna who was hiswife participated in the murder. Secondly, Gino who was a friend wasinvolved in the killing. Bragana had shown much affection to Gino [ CITATION Mar112 l 1033 ].
Anotherissue illustrated in this work entails women representation. Womenrights have been a growing trend in the ever evolving world. However,the film does not rightly portray their roles. For example, there areonly two women who can be regarded as important that is Anita andGiovanna. Anita is simple and quite submissive. She is unpossesive,welcoming, and submissive. During a short encounter with Gino, shemakes no demands and helps him out without requesting for favors. Sheaccepts Gino for who he is and does not show any element of hate. Sheappears to originate a purity and blamelessness of heart, satisfyingthe somewhat conventional character of the “whore with a goldenheart” whom even so Gino castoffs without second thoughts. On thecontrary, Giovanna exemplifies a tougher, more complex andconflicting character. She repels subservience, prompts disobedienceand devastation only to be demolished. An object and captive ofBragana, she victimizes Gino. However, she gets punished throughdeath that was inclusive of his child [ CITATION Mar112 l 1033 ].
Ossessioneis somehow not categorized as a neorealist movie. However, most ofthe traits and features of neorealist films are evident in the movie.Acknowledged as the precursor to this movement, it faced numerouschallenges to reach its anticipated targets. Though Viscontilived a life of luxury that was continuously mocked by Leftistsincluding past century’s artistes, he managed to embrace noveltywhile coming up with this film. His lifestyle, particularly,homosexuality subjected him to great doubts. Even though the moviewas quite raw in terms of popularity, it managed to traverse widely.However, it faced an outragethat encircled the movie’s succeeding release.
Itwas restricted by the government due to the aspects entailed in it.During this year, Italy was going through a theatrical social andcultural disturbances that were meant to alter the manner in whichthe industry operated. The movie was a true depiction of what washappening in the society. Visconti managed to relay key themes thatcompounded the society. They include entrapment in romantic fantasyand sexual conflict the contrast between insides and outsides andbetrayal. Women representation is also a key element entailed in thefilm. While Anita was quite submissive, Giovanna was not. In general,Visconti’s film comprises of mechanics, themes, and displays thattypify neorealism.
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Heller-Nicholas, A. (2016). “I’m No Lady” and the Tramp: Luchino Visconti’s Ossessione. Retrieved from file:///D:/Free%20Lancing/Mercy/2016/15th%20December/Movies%20research/Ossessione%20%E2%80%A2%20film%20analysis%20%E2%80%A2%20Senses%20of%20Cinema.html
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