OSSESSIONE !!!

In this movie, the characters who stared were Clara Calamai (Giovanna Bragana), Massimo Girotti (Gino Costa) , Dhia Cristiani (Anita), Elio Marcuzzo (Lo spagnolo), Vittorio Duse (L'agente di polizia), Michele Riccardini (Don Remigio), Juan de Landa (Giuseppe Bragana), Michele Sakara (bambino). The filming location for the movie Ossesione was in Ancona, Marche, Italy, Comacchio, Ferrara, Ferrara, Emilia-Romagna, Italy, Fair of San Ciriaco, Ancona, Marche, Italy, Po river, Boretto, Reggio Emilia, Emilia-Romagna, Italy, S.A.F.A. Studios, Rome, Lazio, Italy and also Codigoro, Ferrara, Ferrara, Emilia-Romagna, Italy. The original music is by Giuseppe Rosati.
Gino, a young and handsome tramp, stops in a small roadside inn run by Giovanna. She is unsatisfied with her older husband Bragana : she only married him for money. Gino and Giovanna fall in love. But Bragana is inhibiting for their passion, and Giovanna refuses to run away with Gino.
The composition of Luchino Visconti’s debut, Ossessione – which also helped debut Italian Neo-Realism – smacks reactionary right away. Here the filmmaker is intent on his subject, though his shaky visuals feel looser, as if another subject wandering into frame could suddenly lead us to a tangential narrative. In the opening scene, the camera shimmers in the point-of-view of an approaching streetcar, but the quakes remain on stable ground when characters appear. The visual style of this classic trend-setter now feels customary, as if the Neo-Realists could anticipate the extensive hand-held docudrama tradition to follow them. Visconti’s long takes accentuate the style all the more; shorter takes would only chip away at the truth.
Ossesione has a very strong point that talks to modern viewers: brilliant moments and marvelous cinematography, which go in pair with memorable sequences and visual power. These make a modern viewer realize that a film made almost 70 years ago is absolutely entertaining to watch. They range from tasteful erotic images to purely technical shots. Who can possibly skip that moment in Ferrara where Gino meets a beautiful girl, a sort of "Ragazza Perfetta" (perfect girl), a dancer Anita and buys her ice cream. His desires show him totally different direction. Do viewers remain indifferent at Gino-Giovanna's first meeting? The first focus of camera is on Giovanna's legs seemingly representing carnal desire over love that Gino experiences. A marvel of shot is Gino and Giovanna leaving the investigation room and the close up of their shadows that directs our attention towards their suspicious look.
Ossessione does not simply rediscover the Italian landscape; it is a story in search of an inhabitable landscape. The spaces of the movie, claustrophobic interiors and unreachable utopian horizons between which the human figures are caught, are hardly habitable. Yet between these two incommensurable spaces, carefully framed allegories of belonging open a breach in the apparent limits of the characters historical and narrative present. These "deep surfaces" intimate the existence of an outside that yearns to enter the visible narrative on the screen. Significantly, these revelatory allegories emerging from the landscapes always lie behind the characters' shoulders, remaining unseen by them--but not the thoughtful viewer. This unconscious quality of the environment, stressed by Visconti's camera work, expresses the characters' inability to live in the surrounding world. The landscape is staged, but not yet inhabited. To use an expression coined by Silvestra Mariniello, the landscape in Ossessione is not yet a landscape of experience, neither a theater of action nor action itself, as Antonioni had hoped for but rather a carefully constructed spatial allegory smuggled into the flow of the story, and of history, that allows eddies of critical reflection to form.