L'Innocente aka The Innocent

Set in the late 19th century, L'Innocente is a heartrending tale of love, lust, hypocrisy, and deceit brought to life by director Luchino Visconti. The film released in 1976, stars Giancarlo Giannini, Laura Antonelli and Jennifer O'Neill in pivotal roles. The movie is based on an Italian novella, "The Intruder" by Gabriele D'Annunzio, and features a plot that elegantly combines aristocratic dignity with passionate turmoil.

The tormented narrative immerses us in the life of Tullio Hermil (Giancarlo Giannini), an Italian aristocrat, who has grown blase and uninterested in his beautiful wife, Giuliana (Laura Antonelli). Egocentric and superficial, Tullio is drawn into a high society life of wine, women, and wealth, disregarding his marriage vows with apparent insouciance. The extent of his indifference is such that he openly flaunts his mistress, the adventurous widow Teresa Raffo (Jennifer O'Neill), in front of his wife.

However, the narrative takes a stirring turn when Giuliana, inspired by her husband's audacious behavior, embarks on an adulterous relationship herself, with the young, appealing, and sprightly writer, Filippo (Marc Porel). Consumed by a newfound passion and love, Giuliana soon finds herself pregnant with Filippo's child, causing a tumultuous upheaval in her seemingly calm life. This upheaval is amplified when Tullio, triggered by the shock of his wife's infidelity, feels the flames of jealousy ignited within him. Suddenly, the uninterested husband finds his pride wounded, as he realizes his lost love for Giuliana.

In his portrayal of Tullio, Giannini brings a beguiling complexity to the character. He is both the casual adulterer and the injured spouse, and his portrayal oscillates seamlessly between dismissive nonchalance and intense self-reflection. Antonelli, too, is mesmerizing as the submissive wife who blooms under the attentiveness of another man. O'Neill provides a counterbalance to the fervor of the marital partners with her character's more detached and sensuous demeanor.

Visconti stages the drama of his characters in a world of luxurious opulence, treading the intersection of personal passion and societal mores. The extravagant sets, the ornate costumes, and the hypnotic play of colors and lights lend an atmospheric density to the narrative, situating it firmly in the aestheticism of the late 19th century. Visconti's work is enhanced by the cinematography of Pasqualino De Santis, the beautiful score by Franco Mannino, and the elegant screenplay by Enrico Medioli. Together, they give the narrative a sophisticated, operatic richness, allowing it to elegantly unfurl in the grandeur of its carefully constructed historical setting.

L'Innocente engages with themes of desire, vanity, honor, and possessiveness and calls attention to the subtexts of patriarchy and societal expectations. Yet, its most poignant moments revolve around the idea of unreciprocated love and the devastation that it can cause. In the end, L'Innocente is a character study of human emotions that are too twin-faced: love that becomes obsession, freedom that churns envy, and disregard that flips into possessiveness.

If you're a fan of period dramas, L'Innocente provides a riveting look at the complex spectrum of human emotions against a backdrop of extravagance and indulgence. Its intricate storytelling and standout performances make it a compelling watch, emphasized by its picturesque visuals and lush background score. This film emerges as a compelling exploration of human egotism, replete with elements of tragedy, irony, and dark humor. As Visconti's final film, it remains a tribute to his exceptional storytelling abilities and his adept handling of the human psyche's darkest sides.