2024 Blind Spot Series: Senso

 

Based on the novella by Camillo Boito, Senso is the story of an Italian Contessa who embarks on an affair with an Austrian lieutenant during the Third Italian War of Independence against Austria during the mid-19th Century. Directed by Luchino Visconti and screenplay by Visconti and Suso Cecchi d’Amico with dialogue by Tennessee Williams and Paul Bowles and additional work by Carlo Alianello, Giorgio Bassani, and Giorgio Prosperi. The film is an exploration of a love affair during a tumultuous time in Europe’s history. Starring Alida Valli, Farley Granger, Heinz Moog, Rina Morelli, Massimo Girotti, and Marcela Mariani. Senso is a ravishing and evocative film by Luchino Visconti.

The film revolves around a Contessa, in 1866 Venice during the Third Italian War of Independence, who falls for an Austrian officer amidst a tumultuous period in Europe’s history as she is also connected to those working in the Italian resistance. It is a film that explores an affair that would have repercussions during an intense conflict where a Contessa and this Austrian officer both desire a world without war, politics, and social standings. Yet, they would endure a reality that proves to be fatal for both of them as the film’s screenplay by Luchino Visconti and Suso Cecchi d’Amico is largely told from the perspective of Contessa Livia Serpieri (Alida Villa) who is attending an opera in Venice with her husband in Count Serpieri (Heinz Moog), who has been supporting the Austrians, where a protest led by her cousin and revolutionary Marchese Roberto Ussoni (Massimo Girotti) has caused a ruckus. There, she would meet the young Austrian officer Lieutenant Franz Mahler (Farley Granger) who has a post in Venice where is challenged to a duel against Ussoni.

Ussoni would be exiled from Venice where Livia gets to know Lt. Mahler as they would also fall in love where they would keep their affair a secret until Lt. Mahler suddenly leaves with Livia suspecting that there are other lovers. Yet, the war would intensify with Ussoni returning from exile as Count Serpieri and Livia would provide funds for him while they would stay up north to be away from the conflict. The script also play into the chaos of Livia trying to hide her affair though people including her maid Laura (Rina Morelli) know about the affair and its dangers. Especially in the third act it relates to the consequences of their affair with Lt. Mahler and the effects of the war.

Visconti’s direction is grand in the way he presents the film such as the opening scene at the Le Fenice opera house where Giuseppe Verdi’s Il Trovatore is performed where Visconti’s usage of the wide and medium shots play into the scope of the Venetian building. Shot on locations in Rome and Venice including studios on those locations, Visconti creates these compositions that do have this tone as if he is creating a painting in some of the shots he made while the opening scene at Le Fenice is lively in the way the Italians react toward the Austrians. It is a lavish opening sequence that helps establish the conflict that is happening as well as the role that Livia is in as she a woman of stature and importance due to whom she is married. Visconti’s close-ups and medium shots help play into the intimacy of a room as well as the interaction between the characters. Even in scenes at Venice at night where Livia and Lt. Mahler are walking around the canals as it would be this moment that would make the two connect over the fallacies of war as well as their longing for each other. Visconti’s direction also play into this growing disconnect between those who are rich and what is happening among those in Italy who are not fond of the Austrians in this conflict that is brewing.

The film’s second half has some grand set pieces such as the Battle of Custoza where the Italians become overwhelmed by the Austrian forces despite claims that the Italians were winning. Yet, it is about what is happening outside of the battlefield, where Livia must watch from afar as she deals with her own actions due to her affair with Lt. Mahler whom she had just seen some days ago. Even as the events in the third act has Visconti putting a lot of detail for the scenes in Verona where the Austrians are preparing to leave but also get drunk and such as it is not a place for Livia to be in. Especially as she is forced to see what her own actions in trying to help her cousin would do as well as what Lt. Mahler had done. Its ending is not just about death but also anguish in a woman who had given up everything for love only to create more chaos during a tumultuous conflict. Overall, Visconti crafts an enchanting and riveting film about an Italian Contessa’s tumultuous affair with an Austrian officer in mid-19th Century Italy.

Cinematographers G.R. Aldo, Robert Krasker, and Giuseppe Rotunno do incredible work with the film’s Technicolor photography with the richness of the daytime exteriors at the villa in the North of Italy as well as the scenes set in Venice with much of the work done by Aldo and Krasker with Rotunno shooting the film’s ending. Editor Mario Serandrei does excellent work with the editing as it is straightforward in its cutting as well as using rhythmic cuts to play into some of the action including fast-cuts in some of the battle scenes Production designer Ottavio Scotti and set decorator Gino Brosio do amazing work with the look of the homes that Livia lives in including her villa near Custoza and the apartment in Venice where Lt. Mahler stayed at. Costume designers Marcel Escoffier and Piero Tosi do phenomenal work with the costumes in the design of the gowns that Livia wears that plays into the feel of the times as well as the Austrian uniforms that Lt. Mahler wears.

The sound work of Aldo Calpini and Vittorio Trentino do superb work with the way cannons and gunfire sound up close and from afar in the battle scenes as well as the sparse sounds of scenes set in Venice. The film’s music by Anton Bruckner, with adaptation by Nino Rota, is brilliant for its bombastic music score with its orchestral flourishes as well as the usage of Giuseppe Verdi’s Il Trovatore for the film’s opening opera scene.

The film’s wonderful ensemble cast feature some notable small roles from Ernst Nadherny as an Austrian general in Verona, Christian Marquand as a Bohemian officer, Sergio Fantoni as a farmer who lives near Count Serpieri’s villa, and Marcella Mariani in a fantastic small role as a prostitute named Clara that Livia meets late in the film. Rina Morelli is excellent as Livia’s maid Laura who aids her in various affairs although she disapproves of Livia’s affair with Lt. Mahler despite her reluctance to hide the affair. Heinz Moog is excellent as Count Serpieri as Livia’s husband who is supportive of the Austrians to maintain his social status until the war goes into chaos where he reluctantly supports Ussoni’s group as Bruno Persa dubs him. Massimo Girotti is brilliant as Livia’s cousin Marchese Roberto Ussoni as an Italian Nationalist figure who is trying to stage a revolution against the Austrians where he would be exiled for a period as he hopes for Livia’s help financially so he can overthrow the Austrians.

Farley Granger is brilliant as Lieutenant Franz Mahler as this Austrian military officer who is filled with charm but also a sense of duty where he falls for Livia hoping for a life outside of war. While Granger is dubbed by Enrico Maria Salerno, Granger still maintains this sense of beauty and weariness of a man tired of his duties only to then succumb to his own faults that would unravel everything around him. Finally, there’s Alida Valli in a tremendous performance as Contessa Livia Serpieri as a woman who is fascinated by this Austrian officer whom she would fall for as she hopes to escape a loveless marriage while also wanting to support her cousin. Valli maintains this sense of regality as a woman that wants love but also must contend with the fact that she plays a small role in this growing conflict that is happening in Italy where she becomes desperate and lost as it is one of Valli’s finest performances of her career.

Senso is a spectacular film by Luchino Visconti that features a great leading performance from Alida Valli. Along with its supporting cast, grand visuals, a sumptuous music soundtrack, and its study of love and lust during one of Europe’s most tumultuous conflicts. It is a film that explores a love affair between two different people that would create chaos during a time of war as well as revelations of what this affair would cost. In the end, Senso is a sensational film by Luchino Visconti.

Luchino Visconti Films: (Obsessione) – (Giorni di gloria) – (La Terra Firma) – (Appunti su un fatto di cronaca) – (We, the Women) – (Bellisima) – White Nights (1957 film) - Rocco and His Brothers - (Boccaccio ’70-Il lavoro) – The Leopard - Sandra – (The Stranger (1967 film)) – The Witches-The Witch Burned Alive - The Damned - Death in Venice - (Alla ricerca di Tadzio) – (Ludwig) – (Conversation Piece) – The Innocent

© thevoid99 2024

The Sheltering Sky

Originally Written and Posted at Epinions.com on 8/17/07 w/ Additional Edits.

1987's The Last Emperor marked a triumph for Italian director Bernardo Bertolucci as the film won several Academy Awards including Best Picture and a Best Director prize for Bertolucci. Following its award-winning success, Bertolucci and producer Jeremy Thomas decided to embark on another ambitious film that was to follow The Last Emperor in a trilogy of epic films relating to outside cultures and landscapes that would conclude with 1993's Little Buddha. For the second part of his trilogy, Bertolucci released a film based on Paul Bowles' novel of a New York couple traveling to North Africa with a friend as their own marriage disintegrates where the attempt to save their marriage ends in despair. The book from 1947 was finally made into a film for 1990's The Sheltering Sky.

Directed by Bernardo Bertolucci with a script written by Mark Peploe, The Sheltering Sky is an ambitious, epic, romantic film about a couple trying to save their marriage in North Africa only to find faults and failures that also included the involvement of other people. Shot on location in Morocco, Algeria, and Niger, the film unveils some of the most breathtaking images of the desert shot by Bertolucci's longtime cinematographer Vittorio Storaro. Starring John Malkovich, Debra Winger, Campbell Scott, Timothy Spall, Jill Bennett, and Paul Bowles as the film’s narrator. The Sheltering Sky, despite its breathtaking images, is a clumsy, dense film from Bernardo Bertolucci.

It's the late 1940s as an American couple named Port (John Malkovich) and Kit Moresby (Debra Winger) arrive onto a port in North Africa accompanied by their friend Tunner (Campbell Scott). While Tunner hopes to spend a month at least in Tangier, the Moresby are travelers hoping to spend maybe a year or two in North Africa to explore its wonders. Their marriage however, is failing as they spend their time alone and sleep in different rooms. Tunner sleeps in another room while he often tries to court Kit. When Port describes a dream that upsets Kit, they receive an unexpected visit by and Englishman named Eric Lyle (Timothy Spall) and his mother (Jill Bennett). Planning to travel through the desert for their next trip, Port wanders around Tangier where he meets a man named Smail (Ben Smail).

After encountering a little village and tribe where he encounters a hooker (Amina Annabi), she attempts to steal his wallet but fails as he nearly gets mugged. Upon returning to the Grand Hotel, Port begins to suspect a possible affair between Kit and Tunner. With Kit deciding to travel with Tunner by train, Port is accompanied by the Lyles on their trip through the desert to a nearby town. With both parties arriving, it's clear that Kit has been attracted to Tunner as they keep their affair a secret. Port meanwhile, is often asked by Eric for a loan about a possible endeavor. Port gives him a bit of money to be rid of the Lyles as he and Kit go on a bike ride through the desert. In another attempt to save their marriage, they go to a spot where they see the beautiful Sahara Desert. Unfortunately, their lack of passion and the years they've been in have made them cold.

Now going through the desert by bus, the Moresby and Tunner travel yet again as Tunner finds everything to be frustrating as he decides to leave the journey. Port and Kit continue their North African journey unaware of an epidemic coming through the various villages as flies are surrounding them. Port finds himself ill all of a sudden as Kit begins to worry. They continue on their trip to another town but Port is becoming increasingly ill. Things get worse as they find themselves in the middle of a sandstorm. With Kit now worried, she now fears for her own future as she suddenly finds herself being seduced and accompanied by a mysterious young man named Belqassm (Eric Vu-An). Taken to another village, she finds herself in the middle of a culture clash wondering what has this journey really been about.

Given Bertolucci's love of exotic cultures and existential explorations, the film is really about a journey gone wrong with jaded intellectuals being completely unaware of the world that is foreign to them. With the text from this famous novel by Paul Bowles, it's clear that the film's major weakness is in its adaptation. Those who haven't read the book (including myself), definitely will be bewildered by the film's unique narrative. Yet, it makes for a very awkward and detached sense of wonder for the audience who haven't read this book. Even for someone who might've read this book will notice a lot of missing subplots and things from that book.

The film's major weakness is the script by Bertolucci and brother-in-law Mark Peploe, largely because there's not much back story for the film’s protagonists nor is there any are they very interesting in some ways. Port is a self-indulgent and very pretentious though he has some redeeming qualities. Kit is also as detached since she often spends her time in a hotel room alone or with Tunner. Bertolucci, the director, does seem to make up for it with his visual composition and staging. Yet, because of the material he's working on, some of the drama doesn't feel right and the dialogue between Kit and Port is very dense that it seems that a character like Tunner and the audience have a hard time understanding their motives.

The film's narrative is wonderfully structured but uneven as well. Yet, it is unique in some ways since the first part is about Kit's unconventional take on the journey to Africa, the second act being about Kit and Port's disintegrating marriage. Yet, it all goes well despite some road bumps and then comes this third act. All of a sudden, it starts to feel and look like a different film with Kit now being the center of attention. Yet, it makes the entire film feel clunky despite some great scenes that Bertolucci has created and such. Yet, despite all of his intentions and his approach to the storytelling, Bertolucci does create a film that is interesting yet very flawed.

Longtime cinematographer Vittorio Storaro brings a majestic, gorgeous look to the film that makes up for any flaw that it has. Some of the film's interiors including a shot of sunlight in a hotel room looks very close to the old-school, Technicolor cinematography of late 50s/early 60s cinema. The exteriors also has an old-school feel that includes amazing shots of the desert with wonderful set-ups and epic scopes that has to be seen on a widescreen format. Storaro's use of colors whether it would be the blue-evening light or yellow sunlight is always jaw-dropping as his work with Bertolucci as well as other directors like Francis Ford Coppola and Warren Beatty is often top-notch.

Production designers Gianni Silvestri and Ferndinando Scarfiotti along with art director Andrew Sanders create a unique look to the film's period design from the cars to the cramped hotel rooms the Moresby lives. Given the locations they're in, each set piece is wonderfully decorated to give that sense of authenticity. Costume designer James Acheson also brings wonder to the costumes with the sheik-like clothing in the third act, the suits that the men wear, and the 40s dresses that Debra Winger wears throughout for almost the entire film. Editor Gabriella Cristiani brings a nice, elliptical pacing of sorts to the film while using intense cuts to convey the suspense of drama of some of the film's scenes. Sound editor Don Sharpe helps with the film's amazing sound to convey the horror of sandstorms and other surroundings in the desert.

Then there's the amazingly haunting, intensely dramatic score by Ryuchi Sakamoto that is filled with bass-heavy arrangements, lots of strings, and chords that convey the film’s bleak tone. Sakamoto's score is really one of the film’s highlights that also includes traditional, North African music from Richard Horowitz that is filled with a lot of rhythm and mysticism as the land itself. Along with several different kinds of music from the late 1940s, the film's soundtrack is rich in its diversity.

Finally, there's the film's cast that doesn't exactly feature a large ensemble but memorable performances and appearances. There's a few notable small roles from Amina Annabi and Ben Smail as Tangier natives along with a cameo from Italian film starlet Nicoletta Braschi as a French woman in a cafe scene early in the film. Eric Vu-An is good in his mysterious role as a nomad traveler who makes most of his appearance with just his look. A very exotic look who manages to charm Debra Winger. Jill Bennett and Timothy Spall are fine as the irritating Lyle with Bennett as this posh, smug photographer and Spall as a slimy, wormy thief who wants to be rid of his mother. In many ways, maybe this is why Spall got the role of Wormtail in the Harry Potter films.

In one of his early film roles, Campbell Scott is good as the charming, somewhat ignorant Tunner who seduces Kit while trying to understand their fascination with traveling. Scott makes the most of his role despite the fact that it's very underdeveloped. It's just a caricature of a lot of tourist-like characters as Scott would later do better work in the years to come. Debra Winger is fine in her role as Kit but doesn't seem give any real kind of life to the role. I'm not sure whether it's the character or Winger's performance but the character of Kit isn't that interesting. Sure, she looks pretty but her character just seems very detached from everything. Winger is a fine actress and is still better than most stars, it's just that she often seems overlooked.

John Malkovich is actually the film's best performance but that isn't saying much either. While there's some scenes where he and Winger are great together. There's some that don't work which is due to the script. Yet, Malkovich makes the most of it with his self-absorbed, pretentious performance that is always fun to watch. Malkovich usually often would rise above the material, especially as clunky as a film like this. Though his character isn't that interesting, Malkovich does pull all the stops, even as his character starts to become ill that shows wonderful dramatic range.

When the film was released in 1990, expectations were very high considering that it's a film by Bernardo Bertolucci and that he had just come off winning 9 Oscars for The Last Emperor. Instead, the film received mixed reviews and mediocre box office that it was a huge disappointment. Though there were praises towards the film's score and Vittorio Storaro's cinematography, it was a disappointment of sorts from Bertolucci. While he would return with a somewhat better film for 1993's Little Buddha, it was clear that Bertolucci had seen better days.

Despite some of the film's major flaws, The Sheltering Sky is still an interesting yet clunky film from Bernardo Bertolucci and company. While compared to some of his masterpieces like The Conformist, Last Tango in Paris, and The Last Emperor along with other great films like 1900 and The Dreamers, this film is really minor in some ways. Fans of Bertolucci will enjoy the film's epic scope and scenery, unless they hadn't read the book, they will feel like this is minor work. In the end, despite some of those triumphs. The Sheltering Sky is a good film from Bernardo Bertolucci but one would expect a lot more from the Italian auteur.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - Little Buddha - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2011