Sandra (1965 film)

 

Based on the Greek tragedies of Electra by Sophocles and Euripides, Vaghe stele dell’Orsa (Glimmering stars of the Great Bear) or Sandra is the story of a woman who returns to her ancestral home town to celebrate the eve of her father’s death where she renews her incestuous relationship with her brother to the shock of her husband. Directed by Luchino Visconti and screenplay by Visconti, Suso Cecchi d’Amico, and Enrico Medioli, the film is a modern take of the Greek tragedies of Electra in which a woman copes with loss but also secrets that would ruin her family as the titular character of Sandra is portrayed by Claudia Cardinale. Also starring Jean Sorel, Michael Craig, and Renzo Ricci. Vaghe stele dell’Orsa is a ravishing yet eerie film from Luchino Visconti.

The film follows a woman who returns to a small town, with her American husband, in Tuscany to commemorate her father’s passing as she also hopes to deal with some unfinished business with her funny including her brother whom she had an incestuous relationship with. It is a film that puts the Greek tragedies relating to the character of Electra and set in 1960s Italy as this woman returns home as she copes with various issues within her family as well as the need to commemorate her father who had died in a concentration camp at World War II. The film’s screenplay, that also features additional yet un-credited contributions from Giampiero Bona, is largely straightforward as its titular character is a woman who has created a new life away from her small town yet knows she has to return to that town with her husband Andrew Dawdson (Michael Craig) for her late father as well as to maintain a secret relationship with her brother that she doesn’t want Andrew to know.

Yet, the arrival of Gianni (Jean Sorel) at the family home does create confusion within Sandra as she also knows that he would arrive as he had been staying at their old home for some time. There is also tension relating to their stepfather Antonio Gilardini (Renzo Ricci) who knows about their secret as he and Sandra despise each other with Gilardini also taking care of their ailing mother (Marie Bell) who also issues with her children. Dawdson would try to settle things as he also meets a former lover of Sandra in Dr. Pietro Formari (Fred Williams) who would further the tension that is already boiling as he is also watching over Sandra and Gianni’s mother. Even as Dawdson would stage a dinner for everyone to settle matters once and for all as he would learn about his wife’s shocking secret.

Luchino Visconti’s direction is mesmerizing for the way he captures a woman returning to her hometown as it is filled with unique yet abstract visuals that play into this sense of dread and regret. Shot on location in Volterra in the Tuscan region of Italy, Visconti maintains an intimacy throughout the film though there are wide shots of these locations including the main home where Sandra’s family lived in that includes some decayed area where a bust of her father’s head is to be unveiled. Much of Visconti’s direction emphasizes on close-ups and medium shots as it plays into the dramatic tension and melodrama that occurs throughout the film. Notably in the scene at the decayed wall on a windy night where Sandra and Gianni reunite as there is something rich in Visconti’s compositions as well as scenes where Gianni and Andrew walk around town where the latter meets Dr. Formari for the first time as it is an awkward meeting.

Visconti also maintains this dramatic tension as it includes a tense scene between Sandra and her mother that is intercut with a meeting between her and local officials including her stepfather as the tension is felt throughout the film. Even as Visconti would go into the melodrama as well as these rich compositions in a scene at an old water tower between Sandra and Gianni as it acts as the two siblings possibly rekindling their taboo relationship. Yet, their relationship is put to the test in this climatic dinner scene at the film’s third act where Sandra, Gianni, Andrew, Dr. Formari, and Gilardini are attending as Visconti definitely creates this tense atmosphere where something is about to happen. Even as its aftermath would have this sense of tragedy but also acceptance of letting go something that has been the source of discord within her family. Overall, Visconti crafts a chilling yet rapturous film about a woman returning home to celebrate her father’s legacy as well as confront her troubled relationship with her brother.

Cinematographer Armando Nannuzzi does brilliant work with the film’s black-and-white photography as it is filled with imagery with its usage of lights and shadows for the interior/exterior scenes including some really dark scenes in some of the bedrooms at night. Editor Mario Serandrei does excellent work with the editing as it is largely straightforward to play into the dramatic tension as well as some of the melodrama that occurs with its usage of rhythmic cuts. Production designer Mario Garbuglia and set decorator Laudomia Hercolani do amazing work with the look of the rooms at the family estate including its main hall and a room full of statues and antiques as it is a highlight of the film.

Costume designer Bice Brichetto does fantastic work with the costumes in some of the suits the men wear as well as the stylish clothing that Sandra wears. The sound work of Bruno Borghi and Claudio Maielli do superb work with the sound in the way the wind sounds up close and from afar in a key scene early in the film as a lot of it emphasizes on natural sounds presented from its location as it is a highlight of the film. The film’s music by Cesar Franck is phenomenal for its classical-based piano score that features some classical variations as it adds to the drama and tension that looms throughout the film while its soundtrack features some pop and rock music of that period.

The film’s wonderful ensemble cast feature some notable small roles and appearances from noted production designer Ferdinando Scarfiotti as a party guest at the film’s opening scene, Amalia Tosca as the family maid Fosca, and Marie Bell (w/ the voice of Andreina Pagnani) as Sandra and Gianni’s mentally-ill mother who despises her children. Fred Williams is terrific as Dr. Pietro Formari as a former lover of Sandra who finds himself dealing with some of the family chaos as he also cares for their mother as he tries to help settle things despite the awkwardness between him and Dawdson. Renzo Ricci is excellent as Antonio Gilardini as Sandra and Gianni’s stepfather who isn’t fond of them yet loves their mother as he is trying to take care of her while he knows about their secret relationship as it is the source of his issues between his stepchildren.

Michael Craig (w/ the voice of Giuseppe Rinaldi) is brilliant as Sandra’s American husband Andrew Dawdson as he is someone trying to learn about the family as well as Sandra’s early life as he also serves as a mediator between the family and their many issues as he is largely reserved until the film’s climax. Jean Sorel (w/ the voice of Massimo Turci) is amazing as Sandra’s brother Gianni Wald-Lutazzi as a man who had maintained a mysterious life as he spends much of his time at the family estate as he hopes to renew his incestuous relationship with Sandra, despite liking Dawdson, as he becomes unhinged over the possibility that it wouldn’t continue. Finally, there’s Claudia Cardinale in a tremendous performance as the titular character as this woman who returns to her hometown to commemorate her Jewish father as well as deal with family issues including her brother as she is unsure about restarting their taboo relationship. Cardinale brings in a complex performance as a woman that is full of grief but also someone that is conflicted and full of rage as it relates to her family as it is a career-defining performance from Cardinale.

Vaghe stele dell’Orsa is a sensational film from Luchino Visconti that features a great leading performance from Claudia Cardinale. Along with its ensemble cast, riveting story of family tragedy and taboo, ravishing visuals, and an evocative music score. It is a film that explores a woman trying to settle family matters as well as confront a taboo relationship with her brother that had been the source of family drama. In the end, Vaghe stele dell’Orsa is a phenomenal film from Luchino Visconti.

Luchino Visconti Films: (Obsessione) – (Giorni di gloria) – (La Terra Firma) – (Appunti su un fatto di cronaca) – (We, the Women) – (Bellisima) - (Senso) – White Nights (1957 film) - Rocco and His Brothers - (Boccaccio ’70-Il lavoro) – The Leopard - (The Stranger (1967 film)) – The Witches-The Witch Burned Alive - The Damned - Death in Venice - (Alla ricerca di Tadzio) – (Ludwig) – (Conversation Piece) – The Innocent (1976 film)

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