Year: 1976
Duration: 2 Hours 03 Mins
Directed by: Luchino Visconti
Actors: Giancarlo Giannini, Laura Antonelli, Jennifer O’Neill, Rina Morelli, Massimo Girotti, Didier Haudepin, Marie Dubois
Language: Italian (English, spanish, portuguese Sub)
Country: Italy | France
Also known as: El inocente, De onschuldige, Невинният, O Inocente, Den uskyldige, El inocente, Rakkaus Roomassa, L’innocent, Udanashaulo, O athoos, Az ártatlan, Inosento, El inocente, Uskyld, Niewinne, O Intruso, Udanashaulo, Невинный, Masumlar, Die Unschuld
Description: This movie reflects the double standard that existed for adulterous married men and women in turn of-the-20th-century Italy. Prince Tullio Hermil is an aristocrat who has a beautiful, quiet, socialite wife, Giuliana (Antonnelli,) with whom he was once in love, and a beautiful mistress, Countess Teresa Raffo (O’Niell,) with whom he is in love. Tulio is candid with his wife about his relationship with Raffo. Guliana accepts that reality. Just as Tullio and Giuliana are beginning to become close again, he learns that Giuliana, too, had an affair and is pregnant. Questioning whether the child is his and unable to bear the thought that Giuliana has been unfaithful to him, he takes extreme measures, becoming a monster.
The film L’innocente shows more sustainable world aristocracy that does not shake the protest mood of the masses. Visconti focuses entirely on the secular aspect of life his characters and brings them to conclusions about the world or history. For them everything seems to revolve around relationships with the opposite sex. This somewhat reduces the scale of the film, reducing it in part to a tragic romance. In the image Tullio initially read some archetypal masculine self-assertion, Central to which is that it becomes an obsession. Even when Tullio commits a crime and kills the child, he, although he has no justification, looks at least consistent. But when he is not tenable mistress and commits suicide, it is guessed typical hero-Icarus, the high-flying and epilepsy wings. Tullio cannot live, knowing that his hate. He still needs love, and even better adoration. He could be out on the transcendental level of life, anticipating superhuman intuition, but eventually broke about the opinions of ordinary women. But perhaps this kind of reasoning is an attempt to give undeserved complexity of the image Tullio, which in reality was just suffering from jealousy and therefore turned into a monster, which didn’t have any ideas. This view also has the right to life, especially given the fact that the film is still dedicated to human relationships and not try to get rid of them.
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