Prepare to be outraged: Ossessione, a 1943 Italian film directed by Luchino Visconti, stands as a monumental classic in cinema history, yet today it is overshadowed by superficial contemporary narratives. This gripping tale, adapted from James M. Cain’s novel The Postman Always Rings Twice, captures a raw portrayal of human obsession, set against the bleak backdrop of Italy’s rural landscape. The film explores themes of desire and fatal attraction, with Visconti’s groundbreaking portrayal immersing viewers in an intense world driven by passion and betrayal. However, as intellectually stimulating and emotionally enthralling as it is, Ossessione has been dismissed by many in today’s society, largely because it doesn’t fit the 'progressive' mold.
Let’s start with the time and setting. Ossessione was released in 1943, during the Fascist regime, a fact that sparks the ire of today’s cultural gatekeepers. Political correctness in modern film criticism scorns art with any historical stains, ignoring its context and artistic craftsmanship. Yet this movie’s audacious exploration of moral ambiguity, during a time when such topics were taboo, showcases its pioneering spirit. In fact, Mussolini's government banned it, fearing its subversive influence. Yet Visconti fearlessly pressed on, creating a masterpiece that would define the Italian neorealism movement despite all oppressive barriers.
The film follows the twisted journey of Gino, a drifter whose impulsive lust leads him into an illicit affair with Giovanna, the wife of an innkeeper named Bragana. Their relationship spirals into a dangerous obsession resulting in violent consequences and tragic demise. It’s an unrelenting dive into the darker facets of love where virtue gives way to vice, a narrative that refuses to sugarcoat life’s complexities to fit into any sanitized ideological box.
Critics argue that Ossessione is a treasure trove of undeniable artistry. The cinematography alone transcends mere visual storytelling into painting on celluloid. You won’t find the flashy CGI and superficial plotlines that mark so much of today’s ‘critically acclaimed’ art. Instead, Ossessione seduces viewers with its authenticity, camera work that plays like a symphony of emotion and tension. Every shadow, every glint of light is purposeful, capturing the Italian countryside’s stark beauty while simultaneously mirroring the characters’ tumultuous inner world.
Another bone of contention here is the film’s portrayal of traditional gender roles and relationships. Modern sensibilities might balk at the depiction of Giovanna, crying foul and deeming her as a victim of patriarchal domination. But such a reductive view misses the empowerment within her character’s complexity. Giovanna is no damsel in distress. She’s cunning, desires more than her life’s circumstances afford her, and takes destiny into her own hands. These powerful female narratives, without being sanitized by the social justice warrior narrative of dependency, are far more honest reflections of strong-willed women.
Let’s not forget the pivotal role of violence in Ossessione, offering a blunt counter-narrative to today’s sterilized takes on justice and consequence. Unlike today’s feast of pointless brutality passed off as ‘gritty realism,’ in Visconti’s film, violence serves a purpose. It’s a clash of primal instincts, driving home the tragedy of choices and the darkness that dwells within the human soul. Instead of promoting senseless aggression, it poses philosophical questions regarding morality and guilt.
The disregard for Ossessione is symptomatic of a broader issue. A world where stories require checks on ideological boxes before they’re celebrated for their merit. Where does that leave the audience? With a diluted and homogenous stream of content that underestimates its intelligence. Visconti’s film holds a mirror to our nature and the world, challenging viewers to consider the blurred lines between right and wrong without offering easy answers. That’s genuine art—art that stirs conversation, evokes emotion, and stands the test of time.
Fascinatingly, while touting the virtues of liberalism and freedom of expression, the same torchbearers of these ideals suppress works like Ossessione, revealing an irony they’d rather sweep under the rug. We rightfully treasure timeless classics such as Shakespeare’s plays or Hemingway’s novels, even though they emerged from contentious times. Yet when it comes to films like Ossessione, acknowledgment is conditional.
Imagine what could be achieved if we celebrated the raw, unorthodox narratives exemplified by Ossessione without the need for political validation. The audience deserves stories that provoke, broaden perspectives, and embrace artistic truth over conformity. Cinema could become a realm of true freedom, one where art reflects the varied spectrum of human experience rather than a narrow set of approved messages.
So, dust off that copy of Ossessione. Watch it not for its adherence to any ideological agenda, but for its compelling narrative and untainted exploration of humanity’s complexities. Let it be a reminder of what cinema has been and, more importantly, what it still can be—if we are brave enough to ignore the confines of modern indignation, rather than cow-towing to trends that lack the depth and daring of a film that truly stands the test of time.