Senso (1954) - Directed by Luchino Visconti

At one time forgotten and now ripe for a rediscovery following the recent Criterion release, Luchino Visconti’s Senso is nothing but a non-stop pummeling of gorgeous costumes and sets, wonderful acting, and deeply tragic emotions. This masterpiece is a luscious and most operatic melodrama. I’ve already mentioned my grand appreciation of melodramas in previous essays about Sirk, Fuller, and Cukor. Now we enter the realm of classicism and grand perspective, lending a historical context to a torrid love affair, one which is not only tragically romantic but insatiably lusty, filled with greed, unhealthy yearnings, hang-ups and obsessions.

Alida Valli stars as Countess Livia Serpieri, who is married to a wealthy and stodgy man. It is 1866, and the seeds of Italian unification have begun to surge through the country during the Austrian occupation. Visconti’s film opens with an extended scene in the Teatro La Fenice (Opera House) in Venice, infusing the film with a heavy dose of gilded atmospherics, and foreshadowing the “Opera” that will play out during the course of the film. At the Opera, Livia meets Franz Mahler, an Austrian lieutenant played by Farley Granger. They are immediately smitten with each other, and under the nose of her husband, Livia begins a lustful, reckless and selfish affair with him, one that will ultimately break her body, mind, and soul.

As Countess Livia, Alida Valli gives a tremendous performance and is one of the main reasons for the film’s success. Her dark features and long hair blend terrifically with the gorgeous costumes that were fitted for her, along with the ornately decorated rooms she spends time in. Her projection of longing and tortured melancholy is reminiscent of her work in The Third Man (1949), but here she’s given more screen time and she’s a commanding presence. Her chemistry with Farley Granger really works, especially in the passionate love scenes she has together with him that seem especially heated considering the time in which the film was made. It’s also quite clear that the look of the film, from the sets and costumes to the careful use of color, darkness and light, is a tremendous testament to Visconti’s vision. At around the time of this film's release, Visconti became known for his direction of Operas, something he did throughout the 1950's and 60's. It’s clear that his love of Opera infuses Senso with the emotional flourishes and cinematic framing that makes it so memorable.

As Livia and Franz reach a climactic moment in their relationship, the film ratchets up a darker, more tortured conclusion than something that would be found in the films of Sirk. Visconti knows that an affair of such epic proportions is bound to destroy someone in the end, if not everyone involved. The film’s most memorable moment for me comes very near the last scene, as a distraught, perhaps insane Livia wanders the dark and shadowy streets of Verona, screaming “Franz!”, “Fraannz!!!.” She screams his name with such blood curdling passion, the words echoing off the walls of the buildings, bringing chills to one’s spine. Senso is my favorite Visconti film, containing one of the most torrid and tragic love affairs that cinema has ever brought us.

The Third Man (1949) - Directed by Carol Reed



My favorite movie right now is The Third Man. My reasons? It's a combination of the locale (Post-War Vienna), the actors (Joseph Cotton, Orson Welles, Alida Valli), the story, cinematography, and music. Graham Greene's screenplay is slippery, featuring characters with multiple dimensions.  Holly Martins (Joseph Cotton) comes to Vienna to visit his old pal Harry Lime (Welles). When Holly arrives, he soon finds out his friend is dead. That's just the tip of an iceberg that contains blackmail, black market drugs, murder etc. It's great storytelling.

Orson Welles, though he only appears toward the latter third of the film, is just right in this movie. I can't imagine anyone else playing this role as well as he did. Orson Welles tends to dominate any scene he's in. Watch and you'll notice the way he uses his voice to act. I don't think he would ever be considered a great physical actor. I think he expresses a limited range of physical and facial motion. What he lacks in those departments, he makes up for in voice. There is nothing like hearing Orson Welles talk. I would have loved to share a lunch with him and chat and listen to him.

Few films have as iconic a soundtrack as this one. It's the zither music here by Anton Karas that hypnotises you and brings just the right intrigue to this film that gets better with each viewing. Check out "The Third Man Theme" below by Karas.

I find it interesting how several characters' names are mistakenly pronounced throughout the film. At one point, Alida Valli's character Anna refers to Holly as "Harry" in a state of tired sadness. I think these cases of mistaken identity parallel the fact that these characters really don't know each other very well at all. They won't ever see eye-to-eye based on their experiences and their tendencies. It's also a great examination of loyalty. Anna learns things about Harry that are not so pleasant. It's what she does once she learns that is compelling.



 

It has been said by Roger Ebert that The Third Man bookends nicely with Casablanca. I agree. Instead of hope and optimism with Casablanca near the early part of the war, The Third Man is post-war, resigned to defeat, and dog-eat-dog.  Also, with the film being shot on location in Vienna, it brings credibility to the whole movie. It really feels like you're there. You can see the cold in the air and feel the texture of the place. Richard Linklater in 1995 directed Before Sunrise also on location in Vienna and also filmed a great scene in the Ferris Wheel like Carol Reed does. I can't think of Vienna without thinking of these two movies. They would probably make a great double feature.

It's not like The Third Man fits into an easy mold. There are no heroes, it's not a happy ending and no one gets the girl. But it really makes you think and it does not pander in any way. I've seen this movie about 5 times now. I get into it more every time I watch it.