Luchino Visconti at the Cinematheque

LUCHINO VISCONTI’s Films

Yet another series presented by Cinematheque Ontario are the films of Italian maestro Luchino Visconti.  An excellent selection of his films is being screened from July 18th to the end of August. 

His films delve often into the theme of men preying on men.  They stretch from the simple LA TERRA TREMA about the hardship of fishermen to the extravagant like THE DAMNED that traces the downfall of a wealthy industrialist family during the Third Reich.

Visconti’s films are often lengthy at more than 2 hours, but are compelling to watch.  He often draws the viewer into the dilemma of his characters.  His films seldom have happy endings.  As Polanski once said, films made this way will only force audiences to feel the message of the film seen.
Below are capsule reviews of a few of the Visconti films.  For full information, showtimes, ticket pricing and venue check out the Cinematheque Ontario website at:

http://www.cinemathequeontario.ca

Capsule Reviews:-
(by Gilbert Seah)

THE DAMNED (GOTTERDAMERUNG)
(Germany 1969) *****

THE DAMNED is a disturbing, difficult but powerful film about the decline of a wealthy industrialist family set during the Nazi years.  The protagonist is Martin Von Essenbeck (Helmut Berger) whose rise to power is rooted in hate and disgust for his family, particularly his controlling mother (Ingrid Thulin) who he ends up raping at the very end.  The film has everything one does not want to watch on screen – pedophilia, incest, rape, slaughter, drug addiction and a disgusting orgy (the famed “Night of the Long Knives” when Hitler massacred his old army).  Visconti proves his prowess as a filmmaker, particularly from the lavish sets, props and especially the lighting.  The two stunning scenes where a green light falls on Martin showing his as true evil deserves and the other where the mother traverses many corridors lit each time she enters a new one deserve mention.  Visconti begins his film innocently enough with a spectacular birthday celebration while mounting up the tension and perversion as his film thunders towards its climax. This film gets a 5-start rating for its sheer elegance in Visconti’s display of decadence and decay.  I first viewed the film pre-high school, again about 20 years back and still find it fascinating the third time around.
(Screening August 14th, Wednesday 7 pm)

LA TERRA TREMA (THE EARTH TREMBLES)
(Italy 1948) ****

The title of Visconti’s study of man preying on man - THE EARTH TREMBLES, sounds like the title of a horror movie – but upon closer examination, his film is one.  Told from the view of the voiceover that puts the story into perspective and keeps the film on track, the film traces the struggle of one of many fishermen families that etch out a living from a village off Sicily while selling their catch in Catania.  The protagonist, Ntony decides to mortgage his house to get the better of the exploiting wholesalers, but Mother Nature is not on his side, destroying his boat during a nasty storm.  Visconti storytelling style is straight forward – set up situation; show injustice; provide a possible solution.  The use of metaphors (the fish attracted towards the decoying light only to be caught) is at times too obvious.  What transpires after is the director’s vision and decision of what and how he wants to get (the message) across.  Filmed in actual locations with a cast of locals (mostly stunning), LA TERRA TREMA is good old fashioned filmmaking at its best.
(Screening July 23rd. Wednesday 7 pm)

OSSESSIONE (OBSESSION)
(Italy 1943) ***
Visconti’s first film shows a lot of his character and the trend of his future films.  Recognisable instantly as a version of THE POSTMAN ALWAYS RINGS TWICE, OBSESSION is a drifter’s preying on a husband and wife that lead to murder.  His actors are almost perfect specimens in looks.  “You are built like a horse” the wife tells the stranger – the words leading to the seduction.  But the love affair turns sour with suspicion, lust and of course, obsession with one another.  The aim of a better life – the element common to Visconti’s later films lingers in the narrative’s background.  Shot in black and white, OBSESSION is a bit long and tedious and parts but still a remarkable first film.  Again, his film lacks a happy ending perhaps illustrating the director’s lack of faith in humankind. 
(Screening July 24th.  Thursday 7 pm)