Visconti, Luchino

Visconti, Luchino
orig. Don Luchino Visconti, count di Modrone

born Nov. 2, 1906, Milan
died March 17, 1976, Rome

Italian film and theatre director.

Born into the nobility, he became an assistant to Jean Renoir in 1935. He directed his first film, Ossessione (1942), in a style foreshadowing the Neorealism of Roberto Rossellini and Vittorio De Sica. His later films include the documentary-style drama La terra trema (1948), Senso (1954), Rocco and His Brothers (1960), The Leopard (1963, Golden Palm), The Damned (1969), and Death in Venice (1971). As a stage director, he introduced to Italy works by Jean Cocteau, Arthur Miller, and Tennessee Williams, and he staged operas starring Maria Callas that combined realism and spectacle.

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▪ Italian director
in full  Don Luchino Visconti, conte (count) di Modrone 
born Nov. 2, 1906, Milan
died March 17, 1976, Rome
 Italian motion-picture director whose realistic treatment of individuals caught in the conflicts of modern society contributed significantly to the post-World War II revolution in Italian filmmaking and earned him the title of father of Neorealism. He also established himself as an innovative theatrical and opera director in the years immediately after World War II.

      Born into an aristocratic family, Visconti was well acquainted with the arts: his mother was a talented musician, and throughout his childhood his father engaged performers to appear at their private theatre. He studied cello for 10 years and spent a short time as a theatrical set designer. He also had a solid classical education. In 1935 Visconti was hired as an assistant to the French motion-picture director Jean Renoir, who developed his sensitivity to social and political issues.

      Ossessione (1942; “Obsession”), an adaptation of James M. Cain's novel The Postman Always Rings Twice, established his reputation as a director. In it he used natural settings, combined professional actors with local residents, experimented with long-travelling camera shots, and incorporated sequences taken with hidden cameras to enhance authenticity. A masterpiece of realism, this film foreshadowed the postwar Neorealist work of such internationally important filmmakers as Roberto Rossellini and Vittorio De Sica. Six years later La terra trema (1948; The Earth Trembles), a documentary-style study of Sicilian fishermen filmed entirely on location and without actors, won the Grand Prize at the Venice Film Festival. Visconti's other widely acclaimed films include Bellissima (1951; The Most Beautiful) and Siamo donne (1953; We the Women), both starring Anna Magnani; Rocco e i suoi fratelli (1960; Rocco and His Brothers); and Il gattopardo (1963; The Leopard), based on the novel by Giuseppe di Lampedusa about a traditional aristocrat with liberal convictions, a character with whom Visconti strongly identified; Lo straniero (1967; The Stranger); La caduta degli dei (1969; The Damned); and Morte a Venezia (1971; Death in Venice). At the time of his death he had nearly finished editing his last film, L'innocente (The Innocent), based on the novel by Gabriele D'Annunzio.

      As a theatrical director Visconti introduced to Italy the work of such French and U.S. playwrights as Jean Cocteau, Jean-Paul Sartre, Arthur Miller, Tennessee Williams, and Erskine Caldwell. He built up a repertory company that supplied actors for later films.

      During the 1950s Visconti produced internationally recognized operas starring the soprano Maria Callas. Combining realism and spectacle, he scored artistic successes with productions of La traviata (1955), La sonnambula (1955), and Don Carlos (1958, Covent Garden, London).

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Universalium. 2010.

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