Sandra - Die Triebhafte

I am sick to death of all the ridiculous titles this great film has been given. ' Of A Thousand Delights ' is absurd meaning nothing and ' Sandra ' is banal. To make it clear the title is a reference to a Leopardi poem eloquently quoted by Jean Sorel in the film. The poem expresses despair, and Jean Sorel says the words to his sister Sandra played by Claudia Cardinale. Why is he in despair ? He is in love and that love is forbidden by society. His suffering is appalling to watch, and given that Luchino Visconti was homosexual Sorel's beautiful face and body is filmed erotically, and the film could have been called ' Gianni,' given that Sorel as well as Cardinale are our main focus of attention. But of course that would not have brought the audience in. Other reviewers have given away a lot of the story so I will not follow that path. Cesar Franck's ' Prelude, Choral and Fugue ' for piano is delicately used; underlining the passions of hatred and love in the film and personally I believe Visconti never achieved such perfection of choice in any of his other films. The music is not manipulative as Mahler's Fifth Symphony in ' Death in Venice ' ( maudlin to the point of nausea ) or the dreadful score underlining ' The Damned '. In ' Vaghe Stelle Dell' Orsa ' everything is right, and the use of black and white photography unsurpassed. The nearest film that comes close to it is ' Rocco And His Brothers '. Now I will give an opinion that may seem heresy to some, but Jean Sorel was the finest and most physically beautiful actors he ever cast, and his beauty and talent far surpassed that of Alain Delon in either ' The Leopard ' or ' Rocco And His Brothers '. Delon was in my opinion cold and passionless, better suited to Jean-Pierre Melville's icy characters, but as in all human subjectivity, others will disagree. As for Claudia Cardinale her beauty and interior force explodes on the screen with a power rarely seen on film. She is definitely Electra to Sorel's Orestes. Finally Marie Bell, an extraordinarily fine actress as their tormented mother, exuding guilt and hatred in equal measure. This masterpiece ( arguably the best of Visconti's films ) is strangely underrated. It demands close attention, as it is so full of ambiguities and should be seen more than once. Visconti was a variable director, sadly resorting to ' Camp ' in later films and sometimes toppling into vulgarity. I feel his later judgement of choosing inferior actors and overloaded imagery overshadowed in the public mind the excellent work of his earlier films, of which ' Vaghe Stelle Dell' Orsa ' Is the high point.

After a farewell party, Sandra Dawson (Claudia Cardinale) and her American husband Andrew Dawson (Michael Craig) travel to her hometown in the province of Volterra for a homage of the locals to her father, a prominent scientist that died in the concentration camp of Auschwitz. The couple is welcomed by the maid Fosca (Amalia Troiani), and Andrew becomes fascinated with the house. Sandra has issues with her stepfather Pietro Formari (Fred Williams) and her insane mother (Marie Bell) and misses her brother Gianni Wald-Luzzati (Jean Sorel), who is an aspirant writer. When Gianni appears in the house out of the blue, Andrew unravels a shadowy secret from the past of the siblings.

The unknown "Vaghe Stelle dell'Orsa..." is another great movie of this artist called Luchino Visconti. The plot about incestuous relationship and family issues in the hands of another director could have become a melodramatic soap-opera. But Visconti explores the sensuality and beauty of Claudia Cardinale to deliver an intriguing and quite erotic family drama without any redemption. The set decoration, as usual, is another piece of art, supported by a classy music score. My vote is eight.

Title (Brazil): Not Available

Great film about dark secrets and forbidden desire. Luchino Visconti depicts the life of a beautiful woman caught between her past and her present. Underneath her beauty she turns out to be filled with ugly and painful memories. Sandra (played by Claudia Cardinale) struggles with obscure feelings of guilt, alienation and questionable longings. After she takes her husband to her childhood home she finds herself thinking about her painful past. When her somewhat estranged brother shows up things turn out to be more obscure. Hidden secrets and feelings from the past seem to float to the surface once again. The o so beautiful Sandra turns out to be a complex and mysterious woman. A little more raw than most of Visconti's work, but still beautiful and authentic. A film about a woman struggling with her demons, both inside and outside of her.

Luchino Visconti often dealt with the disintegration of family in his films; The Damed, The Leopard, Conversation Piece.. The stories were tragedies and only in Bellissima (1951) the family sticked together in the end. Sandra (Vaghe stelle dell'Orsa...) is also a film about this, but specifically about an aristocratic family full of betrayal, decay and immorality.

Incest is a leading theme in Sandra; we are given clues about it throughout the film, but not a definite proof. The affair of the siblings remains in the shadows and there's something odd in the relationships between the children and the parents. Visconti first approaches this controversial theme calmly, showing it as a small thing - we are not told much about it. But then he increases it to enormous dimensions.

Luchino Visconti sets this story to a dying city around a aristocratic class that is dying out. Great tragedies, misfortunes and decay lead this class to extinction. Already in Senso Visconti achieved an aesthetic revolution, but he continues this in Sandra with a political and ethic revolution. Sandra is not the easiest film by Visconti and many people in the theater seemed to neglect it. In the beginning I found it a little unreachable and absurd but it grew up to be a beautiful allegorical description of the decay of an aristocratic family.

Deserved the Golden Lion at Venice. Powerful at all times except for its below average beginning. Then it changes gears.

The film is typical Visconti--a well-to-do upper class family returning to the childhood manor, picking up the memorable pieces of a rich and comfortable past before the World War II (literally in the film, the sale of valued paintings, property, and in this film, a garden that needs costly upkeep forcing the family now to gift it to the townsfolk as public property). Touches of Visconti's and Lampedusa's "The Leopard" made just before this film.

The original head of the family, Sandra's father was a Jew, and executed by the Nazis. He was exposed as a Jew by his wife, a famous pianist who fell in love with a lawyer. Sandra suspects the lawyer and her mother for her father's demise. Visconti never reveals why the Nazis spared the family members. Now Sandra's mother is demented and her father's statue in the garden is always covered in a white sheet giving the suggestion of a ghost. But the film is not about ghosts.

The film is more about Sandra (Cardinale) and her brother Gianni (Sorel) who reveal an past that might never have been consummated. Now that Sandra is married to Andrew (Craig), Gianni removes the wedding ring from Sandra's finger and wears it, Sandra's protests unheeded.

Visconti's script reveals that Sandra had a lover, Antonio (who still adores her, played by Ricci), but they could not marry because of the class divide and opposition from her mother to the relationship. Years later Antonio becomes a doctor who treats Sandra's demented mother.

While the film is not about ghosts, it is about a dark past, bitter memories, class and religious conflicts, that struggle to keep pace with the world outside the Italian town with a rich history. An electra complex emerges like a ghost--Visconti's images of Cardinale's body (especially her eyes that wonder who is outside her bedroom door) are absolutely top notch. There is no overt sex, no on screen and even the spoken words deny more than underscore it. you wonder about Sandra's mother if she is truly demented when she accuses her daughter Sandra of slithering in like a serpent.

Every bit of the film makes you wonder as you clutch at the straws the director throws as clues for the viewer to solve a big puzzle. The poem which provides the original Italian title of the film is one, There are more Solve them and you will love the film. Deserving of the Venice honor. Thank you, Cardinale and Sorel, for your unforgettable screen time in this film. A film that anticipates Visconti's "The Damned" and "Conversation Piece."