L'Innocente

Director: Luchino Visconti Luchino Visconti

Overview

Based on a novel by Gabriele d'Annunzio, this film is set amongst the aristocracy of 19th-century Italy. Tullio thinks nothing of squiring his mistress in full view of the public. But when Giannini's cast-off wife begins an affair with a young novelist, it is too much for the philandering aristocrat.

Product Details

Release Date:	07/14/2020
UPC:	0850003924847
Original Release:	1976
Rating:	R
Source:	Film Movement
Region Code:	A
Presentation:	[Wide Screen]
Language:	English
Time:	2:09:00
Sales rank:	43,520

Cast & Crew

Performance Credits

Giancarlo Giannini	Tullio
Laura Antonelli	Giuliana
Jennifer O'Neill	Teresa Raffo
Massimo Girotti	Count
Rina Morelli	Tullio's Mother
Didier Haudepin	Federico Hermil
Marie Dubois	The Princess
Roberta Paladini	Miss Elviretta
Claude Mann	The Prince
Marc Porel	Filippo d'Arborio
Margherita Horowitz	Actor
Philippe Hersent	Actor
Siria Betti	Actor
Alessandra Vazzoler	Actor
Marina Pierro	Actor
Vittorio Zarfati	Actor
Franco Mannino	Composer

Technical Credits

Luchino Visconti

Suso Cecchi d'Amico

Enrico Medioli

Giovanni Bertolucci	Producer
Luchino Visconti	Director,Screenwriter
Suso Cecchi d'Amico	Screenwriter
Enrico Medioli	Screenwriter

Editorial Reviews

Luchino Visconti's last film is haunting and sad, the final work from a major filmmaker who saw a way of life vanishing with his passing. Set in Italy in the early 1900s, The Innocent tells the story of Tullio Hermil (Giancarlo Giannini), a domineering, sexually rapacious patriarch who is married to Giuliana (Laura Antonelli), whom he mistreats on a daily basis. His mistress Teresa Raffo (Jennifer O'Neill) manipulates Tullio to her own ends, in a tragic tale of a dying aristocracy. When Tullio's wife, in desperation, turns to the arms of another for love and solace, she becomes pregnant, and Tullio is devastated. Now, he is a cuckold in the eyes of the world, when in fact, his own sexual jealousy and misogyny have brought about this sad state of affairs. Visconti's merciless mise-en-scène dissects his characters as if they were insects under a microscope; as he grew older as a director, Visconti's seemingly natural antipathy to human weakness became almost his signature style. The film is operatic, grand, and yet deeply intimate and personal, making it simultaneously one of Visconti's most accomplished and most disheartening films.