Obsession
Country
Production
Budget
$0
Box office
$0
Director
Actors
Clara Calamai, Massimo Girotti, Dhia Cristiani, Elio Marcuzzo, Vittorio Duse, Michele Riccardini, Juan de Landa, Michele Sakara
All actors and roles (8)
All actors and roles (8)
Scenario
Producer
Libero Solaroli, Libero Solaroli
Camera operator
Domenico Scala
Composer
Artist
Audition
Editing
Mario Serandrei
Whole Team (23)
Whole Team (23)
Short description
Gino, a drifter, begins an affair with inn-owner Giovanna as they plan to get rid of her older husband.
What's left behind the scenes
- The film was shot towards the end of Mussolini's rule in a semi-secret manner, using funds raised by Luchino Visconti from the sale of family jewels.
- Luchino Visconti’s debut film—an adaptation of James M. Cain’s noir novel 'The Postman Always Rings Twice' set in Italian realities.
- At the demand of fascist censors, the film, which 'slandered the Italian countryside,' was repeatedly re-edited, and its negative was burned. For this reason, and due to difficulties with copyright, the film was practically unavailable for viewing for decades. Only at the end of Luchino Visconti’s life did he restore it based on an incomplete dupe negative he had preserved.
- The premiere of 'Obsession' is described differently by eyewitnesses. The son of the Duce, Vittorio Mussolini, was present and allegedly shouted, 'This is not Italy!' Others recall that Mussolini liked the film. Provincial authorities, on the contrary, strongly opposed the film; there is a known case of a bishop being invited to consecrate the cinema 'defiled' by the film.
- Luchino Visconti's debut film is an adaptation of James M. Cain's noir novel 'The Postman Always Rings Twice,' transposed to an Italian setting.
- The film was shot toward the end of Mussolini's rule in semi-secrecy, funded by money Luchino Visconti raised from the sale of family jewels.
- At the demand of fascist censors, the film—which was accused of 'slandering the Italian countryside'—was re-edited several times, and its negative was burned. For this reason, and due to copyright complications, the film was virtually unavailable for viewing for decades. It was only toward the end of his life that Luchino Visconti restored it using an incomplete duplicate print he had preserved.
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