La rete

Let's put it straight:the screenplay of "la red" is trite to a fault.So why is it so mesmerizing? It must be the form.Visually,it's a splendor: few directors can take advantage of the seaside landscapes as Emilio Fernandez did:think Lean' s "Ryan's daughter" or Jean Grémillon's "Remorques".Some will say that the symbolism -a breaker- is ponderous.The director was probably influenced by Bunuel for symbols abound.There's a big difference though:whereas Bunuel's obsessions often deal with sex cum religion,"la red" is thoroughly pagan.Rossanna Podesta epitomizes some kind of Goddess,of Eve before the fall .A Madonna's face but a sensual body and a false innocence :it was not surprising Robert Wise would cast her as Helen of Troy.

Even more disturbing than the threatening omnipresence of the sea is the script: 75% of "la red " is devoid of any dialog.Looks and smiles tell everything (the meal is a good example) Two males and a female ,that's no good,one character says.All are caught up in "the net " (the beach ) ,a dead end.The only way to get out of this world is the sea.

"La red" is a story of sexual desire, reportedly inspired by Maxim Gorki's "Malva", and interestingly told with sparse dialogue, and mostly through images, a strategy that merited a special award by the jury in the Cannes film festival. When a robbery fails, a thief escapes, while his mate is caught by the police. The fugitive goes to a remote community to hide from the law, living in a hut by the sea with a beautiful woman (Rossana Podestà) who fishes sponges and sells then in town. But then his mate is released, and the three have to live together. As expected, desire and jealousy arise. When the film premiered in Cannes, Robert Wise selected little-known Italian actress Podestà to play the leading role in "Helen of Troy": convinced by the evidence that "La red" was, Warner Brothers backed the decision. Remade 25 years later by Fernández, as "Erótica".