The Postman Always Rings Twice

…and Other Times in English

We’d already done a review of one film adaptation of James Cain’s seminal novel, The Postman Always Rings Twice, but that one had been in Italian.  The Hollywood version was actually the third to appear, after the Italian version and one in French.

Lana Turner and John Garfield in The Postman Always Rings Twice

Why?  Well, like much else that was wrong with cinema in the 1940s, the Hays Code was to blame.  The self-righteous thought police was hard at work back then attempting to control what people did and thought (plus ça change…) with the effect that filmmakers were loathe to do anything that might offend the censors.

If you ever wondered why people who broke the law–even the romantic, sympathetic ones–never got away with it it was because one of the articles of the code expressly forbade that.

If you wondered why kisses never lasted more than three seconds… ditto.

The main question, of course, is: in the golden era of film noir–a genre whose success depends on the basest of human emotions: lust, betrayal, greed–did the limitations on the films make them less than they could have been or did they have the opposite effect and force the directors to go above and beyond to get around the limits?  We’ll never know, but the films that have come to us make me think the second is more likely,

Eventually, however, the studio moguls decided that, though the book’s subject matter was quite sordid, it was no worse than much of the rest of the genre, so they went ahead and filmed it.

The Postman Always Rings Twice Movie Poster

This one is, perhaps, a slightly more faithful adaptation of the book than Ossessione, but the two are, of course essentially the same.  The main difference is in the visuals.  For some reason, the sense that the Italian version gives is that most of the action takes place during the daytime, while the American one is much darker and more nocturnal, probably because that was the predominant aesthetic of the genre, or maybe it was a conscious effort to separate the two.

Whatever the cause, it works.  The film is a moody take on an already dark subject.

There isn’t really much more to say about it without rehashing the plot or repeating what other critics have said.  My own recommendation is to watch them both.  I think the Italian version is better at creating believable sexual tension between the characters–and, unhindered by the Code, at showing it–while the American version shines in the legal aspects and nighttime scenes.

Both are worth a look.

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The Postman Sometimes Rings in Italian

Ossessione film still

Our quest to watch (and comment upon) the 1001 movies we’re supposed to see before we die continues apace, and this time we are presenting an Italian film from 1943, entitled Ossessione.  This film, directed by Luchino Visconti is one of those hugely influential films that was seen by nearly no one when it was released.

The Postman Always Rings Twice First Edition

The reasons for this lack of exposure lie mainly with the fact that the film was based on James M. Cain’s The Postman Always Rings Twice.  Within the context of Italy’s fascist regime, the adulterous relationship portrayed in the film was simply unacceptable to some sectors, causing it to be banned within Italy.  It then subsequently encountered legal problems in international distribution: due to the ongoing World War, no one had thought to negotiate the rights to the novel, which meant that when the war ended, the film couldn’t be distributed outside of italy.

Despite these setbacks, the movie managed to earn itself a spot on the list, and a deserved one, at that.  The film is brilliantly conceived and filmed, with the plot moving forward swiftly except in those cases where Visconti allows it to slow down in order to heighten an emotion or – even more telling – a philosophical point about society.  The emotional breaks are jagged and raw, without falling into melodrama, which is something that could so easily have happened to this particular story.

Luchino Visconti

More than that, Ossessione foreshadows the Italian Neorealist movement which gave us such great films as Roma Citta Aperta, and characterized directors such as Federico Fellini and Roberto Rossellini.  You can see the seeds of the movement everywhere, but most especially in small pauses where Visconti lets us catch a glimpse of how things really are – even when they have no bearing on the plot.  Of course, the movement’s working class ethic is represented by the character of Gino the tramp – even though he is an outsider to the true life of the worker.

Worth watching, even if you already know the plot – and we believe the comparison to the newer US version of the film will be interesting, once we reach that point in the list.

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