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

2021 Blind Spot Series: A Streetcar Named Desire

 

Based on the play by Tennessee Williams, A Streetcar Named Desire is the story of a woman who leaves her aristocratic world to live in New Orleans with her sister and brutish brother-in-law in a dilapidated apartment as her life starts to crumble. Directed by Elia Kazan and screenplay by Williams and Oscar Saul, the film is an exploration of a woman who wants to be something special but has a hard time dealing with the new world she’s in as well as the man who treats her terribly. Starring Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden. A Streetcar Named Desire is a rich yet intense film from Elia Kazan.

Set in New Orleans, the film revolves around a woman who arrives to the city to live with her sister and brother-in-law in the hopes to regain her aristocratic lifestyle after some major losses in her life though her brother-in-law becomes troubled by her presence as he treats her cruelly. It is a film that explores a woman trying to maintain this illusion of being a Southern Belle as she left her hometown to find riches and such in New Orleans but she has to contend with this force of nature that is her brother-in-law. The film’s screenplay by Tennessee Williams that is based on his own play with contributions from Oscar Saul play into the plight that Blanche DuBois (Vivien Leigh) is enduring as she hopes to retain this identity even though she lost a lot as she had quit her job as an English middle school teacher. Blanche’s arrival at the apartment home of her sister Stella (Kim Hunter) would have Blanche deal with the fact that Stella lives in this dilapidated apartment with her husband Stanley Kowalski (Marlon Brando).

The script also includes Kowalski’s friend Mitch (Karl Malden) who takes a liking to Blanche where he even considers marrying her so that neither of them would be lonely yet Kowalski thinks the relationship is a bad idea as he has suspicions about Blanche though his brutish behavior towards her doesn’t help matters. Even as Blanche is critical towards both him and Stella as it adds discord to their relationship where some of Williams’ dialogue do play into these emotions but also into Blanche’s own disconnection with reality as if she is imagining about the world she wants to be in. Notably as it adds to this contrast to the world that Kowalski and Stella live in that is lively but also simple where not everyone has everything.

Elia Kazan’s direction definitely has this theatrical presentation as it is set largely in this apartment complex in the middle of the French Quarter in New Orleans with part of that area and other nearby places are shot. While there’s a few wide shots in the film to get a scope of the location as well as the apartment in its cramped and claustrophobic feel as it does serve as a character in the film. Kazan’s direction is focused more on intimacy with the usage of close-ups and medium shots as the latter is used to play into the tension between Blanche and Kowalski. It’s not just this claustrophobic atmosphere that adds to the drama but also in how it plays into Blanche’s own mental state as the walls would close in around her as it play into her refusal to accept the reality of her situation. Even as she wears these stylish and glamourous clothing that is a total contrast to the simpler yet ragged look of Kowalski as the latter is this symbol of sexual ferocity. Kazan also uses the location as well as heat as this intense atmosphere that adds to the drama including some of the tension between Blanche and Kowalski.

One key scene outside of the apartment is a party scene where it’s focused on this conversation between Blanche and Mitch where the latter gets to hear her story as it play into the former’s old life but also her past as Mitch would fall for her unaware that of her troubled mental state. Kazan’s compositions and usage of long shots play into the drama as well as scenes of Blanche trying to play up this façade of a world where everything is lit a certain way and everything has to be glamourous yet she still has to contend with this more cynical reality that is Kowalski. Even as the tension would boil into the third act as even Stella becomes tired of both of them as she is caught in the middle yet she loves both her husband and sister. The climax that relates to this boiling tension of Blanche’s fantasy and the harsh reality of Kowalski would finally collide as it lead to some harsh revelations as well as a real sense of loss for everyone. Overall, Kazan crafts a riveting and exhilarating film about a fallen Southern Belle trying to start a new life only to collide with the dark reality that is her brutish brother-in-law.

Cinematographer Harry Stradling does brilliant work with the film’s black-and-white photography with its stylish usage of shadows and lights for many of the interior scenes to help set the mood as well as play into Blanche’s refusal to see the reality of the world and who she really is. Editor David Weisbart does excellent work with the editing as it is straightforward with some rhythmic cuts to play into the dramatic suspense. Art directors Richard Day and Bertram Tuttle, with set decorator George Hopkins, do amazing work with the look of the apartment as well as some of its exteriors as it help play into the atmosphere of the film as well as the claustrophobic tone whenever Blanche deals with reality. Costume designer Lucinda Ballard does fantastic work with the ragged look of Kowalski including his ripped t-shirts as well as some of the more glamourous look of Blanche that would become more ragged as the film progresses.

Makeup artist Gordon Bau does nice work with the look of Blanche from this attempt at a clean and refined hairstyle as well as the makeup to make herself look younger as it only play into this idea of a fantasy that she wants to hold on to. The sound work of Nathan Levinson and C.A. Riggs is superb for the atmosphere that it creates as it help play into the dramatic tension that occurs in the film that also includes sparse sounds of what is happening outside of the apartment. The film’s music by Alex North is incredible for its rich and eerie orchestral score that includes this theme for Blanche that is only heard by her as it’s chilling and offbeat while the rest of the music is soaring with its string arrangements that is mixed in with bits of New Orleans jazz.

The film’s wonderful ensemble cast feature some notable small roles from August Kuhn as a sailor Blanche meets upon her arrival to New Orleans, Richard Garrick as a doctor who appears late in the film, Ann Dere as a mysterious matron that only Blanche sees, Wright King as a young collector that Blanche meets in the middle of the film, Rudy Bond and Nick Dennis in their respective roles as Kowalski and Mitch’s poker buddies Steve and Pablo, and Peg Hillas in an excellent performance as the apartment complex landlady Eunice who often takes Stella in whenever Kowalski gets intense as well as someone who doesn’t like him much at all. Karl Malden is brilliant as Mitch as a friend of Kowalski who served in the war with him as he becomes fascinated by Blanche as he hopes to be with her as it’s a role that has Malden display some vulnerability and sensitivity but also someone who doesn’t take shit from anyone although he’s unaware of the trouble he’s in when it comes to Blanche.

Kim Hunter is amazing as Stella Kowalski as Blanche’s sister who finds herself in the middle of this conflict as she deeply loves both her sister and her husband while also dealing with her impending pregnancy and the chaos at her home. Vivien Leigh is phenomenal as Blanche DuBois as this former English middle-school teacher who was once this revered Southern Belle as she is trying to retain whatever glory she had as she has trouble dealing with her new reality where Leigh displays this air of charm but also anguish in a complex and dangerous performance. Finally, there’s Marlon Brando in an outstanding performance as Stanley Kowalski as this force of nature who doesn’t just exude raw sexuality in his appearance but also a rage of a man who feels threatened by Blanche as he would treat her with cruelty and disdain. It is this performance that is intense where Brando and Leigh do display a great sense of rapport in this performance as well as bringing in two different ideas into their performances that makes them a highlight to watch.

A Streetcar Named Desire is a sensational film from Elia Kazan that features tremendous performances from Vivien Leigh, Kim Hunter, and Karl Malden as well as a breakthrough performance from Marlon Brando. Along with its claustrophobic setting, themes of fantasy vs. reality, its intense yet dark approach to melodrama, and Alex North’s exhilarating music score. It is a film that explore two different people having to live together as it explore some of the darkest aspects of human nature but also loss at its most extreme. In the end, A Streetcar Named Desire is an incredible film from Elia Kazan.

Elia Kazan Films: (A Tree Grows in Brooklyn) – (The Sea of Grass) – (Boomerang!) – (Gentleman’s Agreement) – (Pinky) – (Panic in the Streets) – (Viva Zapata!) – (Man on a Tightrope) – On the Waterfront - East of Eden – (Baby Doll) – (A Face in the Crowd) – (Wild River) – Splendor in the Grass – (America America) – (The Arrangement) – (The Visitors (1972 film)) – (The Last Tycoon)

© thevoid99 2021

The Fugitive Kind

Based on Tennessee Williams’ play Orpheus Descending, The Fugitive Kind is the story of a drifter who arrives in a small Mississippi town where he catches the attention of its local women as they all fall for him. Directed by Sidney Lumet and screenplay by Tennessee Williams and Meade Robert, the film is an exploration into a man escaping from his dark deeds where he would find trouble in the passion he ignites with the women in this small town. Starring Marlon Brando, Joanne Woodward, Anna Magnani, Maureen Stapleton, and Victor Jory. The Fugitive Kind is an extraordinary yet intense drama from Sidney Lumet.

After fleeing New Orleans in hopes to start clean, Valentine Xavier (Marlon Brando) arrives in a small Mississippi town on a rainy night where he seeks shelter at the home of Sheriff Talbot (R.G. Armstrong) whose wife Vee (Maureen Stapleton) lets him in. Though Xavier doesn’t want to cause or involve himself in any trouble, Talbot thinks he’s trouble though Vee thinks he’s a nice young man that is just looking for a job. After taking work at a five-and-dime store run by the ailing Jabe Torrance (Victory Jory), Xavier meets up with a young yet troubled woman named Carol Cutere (Joanne Woodward) who knows him from other places. Though Xavier reluctantly hangs out with her at bars she’s been banned from, he finds himself attracted to Jabe’s wife (Anna Magnani) whom he had just met earlier.

With Lady Torrance running the store, she still tries to deal with her husband whose paranoia starts to seep in as she finds comfort in Xavier. Though Xavier finds himself getting the attention of various women in town, he remains attached to Lady Torrance who had lost a lot in her life as the two fall for each other. Still, her husband remains paranoid about their affair as he sends Sheriff Talbot to confront Xavier. Realizing the trouble that he’s in, Xavier decides to flee until Lady Torrance reveals something that would cause more trouble.

The film is about a drifter that wants to start over only to deal with women who are into him as he would end up falling for one of them in this small town. Yet, he has to endure the presence of an angry husband as well as local authorities who are suspicious of him. Still, he just wants to do right in the world despite the two women he encounters in a young nymphomaniac and a married, older woman lost in a loveless marriage. The screenplay that Tennessee Williams and Meade Roberts is about redemption and passion as it follows a man caught in a world where he’s loathed by some of the men in this small town but adored by the women. Still, he tries to keep things to himself and do his job as the only the he cherish is his guitar.

Though the story doesn’t have much of a plot, it is carried by lots of stylish dialogue that is filled with monologues and stories that flesh out the characters more. Including smaller ones like Sheriff and Vee Talbot as the latter is a kind older woman who just wants to paint though doesn’t seem to be appreciated very much by her husband. The screenplay does succeed in just building up the suspense very slowly for the film’s climatic moment when Xavier decides to leave town only for Lady Torrance to reveal something where dark things start to happen. Notably as its aftermath would leave one of the film’s key characters to reflect on everything that’s happened.

Sidney Lumet’s very understated yet evocative direction is truly the highlight of the film. Shooting in a small town in the state of New York, he opens the film with this wonderful prologue where Xavier is in a courtroom given his release. It’s a simple one-take shot where the camera moves slowly for a close-up but it’s a key scene to set up what Xavier is motivating himself to do as he hopes to stay away from trouble. While the rest of the film features wonderful compositions to capture this hot Southern town with roadway shots and very intimate compositions featuring multiple characters. Notably some entrancing moments in the way Lumet moves the camera for close-ups or to follow the action remains very engaging and to the point. Overall, Lumet crafts a truly masterful yet entrancing drama that explores the world of temptation and redemption.

Cinematographer Boris Kaufman does amazing work with the film‘s black-and-white cinematography to exemplify the chilling atmosphere of the locations with some lush exterior shots for some of the film's sunny daytime scenes to the more entrancing nighttime interiors to set the tense mood of the film. Editor Carl Lerner does excellent work with the editing to display effective yet stylish cuts to play with the intensity of the drama while maintaining a leisured pace for the film. Art director Richard Sylbert and set decorator Gene Callahan do brilliant work with the set pieces created such as the five-and-dime store Lady Torrance runs to the beautiful backyard garden that Xavier restores for her.

Costume designer Frank L. Thompson does superb work with the costumes from the black clothes of Lady Torrance to the white dress that Carol wears and the snakeskin jacket that represents Xavier. The sound work of James Gleason is terrific for the atmosphere that is created as it includes the tense banging of Mr. Torrance‘s cane to the sound of rain from the interior sets. The music of Kenyon Hopkins is wonderful for the serene orchestral themes played for some of the film’s romantic moments along with bombastic orchestral cue for the film’s intense climax.

The film’s cast is truly incredible for the ensemble that is created as it includes small roles from John Baragrey as Carol’s brother and Emory Richardson as the mysterious mute Uncle Pleasant. Other notable small parts include R.G. Armstrong as the suspicious Sheriff Talbot, Maureen Stapleton as the very warm and helpful Vee Talbot, and Victor Jory as the paranoid and jealous Jabe Torrance. Joanne Woodward is phenomenal as the alcoholic yet vivacious Carol Cutere who tries to woo Xavier while trying to claw into her past as it’s a very wild yet charismatic performance from the actress who definitely steals the film from nearly everyone.

Anna Magnani is great as the intense Lady Torrance who is fascinated by the much younger Xavier who she sees as her way out in a loveless marriage as it’s a very entrancing yet terrifying performance from the actress. Finally, there’s Marlon Brando in a marvelous yet very understated performance as Valentine “Snakeskin” Xavier. Brando exudes a quiet intensity to his role as a man just trying to stay out of trouble as he remains this quiet observer who had led a very troubled life. Brando’s monologues in the film are true master-class in the art of acting while he also displays this sense of coolness to his character as it’s one of his essential performances.

The Fugitive Kind is a powerful yet engrossing drama from the late, great Sidney Lumet. Featuring towering performances from Marlon Brando, Anna Magnani, and Joanne Woodward, the film is an engaging story that is filled with sensuality and troubled characters that are all wanting some way to a better life. Notably as it involves all sorts of troubled passions set in a hot small town in the South. The Fugitive Kind is an outstanding film from Sidney Lumet.

Sidney Lumet Films: (12 Angry Men) - (Stage Struck) - (That Kind of Woman) - (A View from the Bridge) - (Long Day’s Journey into Night) - (The Pawnbroker) - (Fail-Safe) - (The Hill) - (The Group) - (The Deadly Affair) - (Bye Bye Braverman) - (The Sea Gull) - (The Appointment) - (King: A Filmed Record… Montgomery to Memphis) - (Last of the Mobile Hot Shots) - (The Anderson Tapes) - (Child’s Play (1972 film)) - (The Offence) - (Serpico) - (Lovin’ Molly) - (Midnight on the Orient Express) - (Dog Day Afternoon) - (Network) - (Equus) - (The Wiz) - (Just Tell Me What You Want) - (Prince of the City) - (Deathtrap) - (The Verdict) - (Daniel) - (Garbo Talks) - (Power) - (The Morning After) - (Running on Empty) - (The Family Business) - (Q&A) - (A Stranger Among Us) - (Guilty as Sin) - (Night Falls on Manhattan) - (Critical Care) - (Gloria (1999 film)) - (Strip Search) - (Find Me Guilty) - (Before the Devil Knows You’re Dead)

© thevoid99 2012