Laura Antonelli and Giancarlo Giannini in The Innocent (1976)
Directed by: Luchino Visconti
Written by: Suso Cecci D'Amico, Enrico Medioli, Luchino Visconti, based on “The Intruder” by Gabriele d’Annunzio
Starring: Giancarlo Giannini, Laura Antonelli, Jennifer O’Neill, Rina Morelli, Marc Porel
With more people isolated in their homes, there has never been a better time for a revival of classic films featuring well-defined characters with scintillating stories of treachery and deceit, let alone love.
From 1976, comes Luchino Visconti’s final film, “The Innocent,” a story of a frivolous aristocrat, Tullio Hermil (“Casino Royale’s” Giancarlo Giannini). Tullio is interested in maintaining the dignity and poise of events that effect his life and his wife, Giuliana (Laura Antonelli). When we first meet Tullio, it is during a fencing match with his brother, Federico (Didier Haudepin). Both brothers are relentless in their pursuit of landing the important first strike.
In these early scenes, Visconti demonstrates Tullio’s lack of feeling, except for what is directly in front of him. Giannini also demonstrates his fastidious desire to win at all costs, no matter the sacrifice. At the same time, it also shows a weakness in that he cannot anticipate how the other half of his battle will be fought; he cannot see the outcome. And when the outcome does not favor him, he acts like an impudent child, pining for “his way or the highway.”
From the way Tullio is introduced, his mannerisms and attitudes, it should come as no surprise that he and his wife, Giuliana are separated. For appearance sake, they are still married. To be sure, when they arrive at Mother’s (Rina Morelli) estate, they are quick to ask for separate rooms, because of their differing schedules. Mother accommodates them, not suspecting any infidelities between the two.
Visconti slowly reveals the rapturous hunger with which both Tullio and Giuliana attend to their affairs; Tullio with Teresa Raffo (Jennifer O’Neill), a very becoming woman with demanding tastes, though she tries to get Tullio to show his affection for her in public, unaware of the implications of doing so, even though Tullio warns her to show discretion.
For Giuliana, her infidelity is at the hands of Filippo d’Arborio (Marc Porel), a doctor whom we only see once, but whose presence is felt throughout the entire film; Giuliana has conceived with Filippo, though Visconti wisely chose to reveal the pregnancy slowly so as to play into Tullio’s sensibilities. The screenplay does not hide behind the pregnancy nor its implications on their relationship.
In fact, it emboldens Tullio’s desire to swiftly sweep any transgression under the rug that might sully his reputation. That desire leads to a tragedy of innocents: an innocent and helpless baby, an innocent wife, even through infidelity who remained steadfastly by her husband’s side and a husband whose forsaken relationships left him with no other choice, but the ultimate sacrifice.
There is a rich look and feel to the film, indicative of the late 1970s when the film was shot, evoking the late 19th century the story was set in. Visconti’s final film was the second adaptation of Gabriele d’Annunzio’s novel while Franco Mannino’s score, accompanied by classical works from Mozart’s Rondò Alla Turca and the aria Che faro senza Euridice from Christoph Willibald Gluck’s Orfeo ed Euridice suggesting that swift and wide justice was enacted on all participants, but none more than Giancarlo Giannini’s Tullio.
“The Innocent” is full of strong performances, a tragic story not soon forgotten. The most striking aspect of the film is in which the way the characters nonchalantly dismiss the feelings of their counterparts. Luchino Visconti’s direction is taut and the film is a tragic painting come to life.
3 out of 4 stars
