Senso – Radiance

Director: Luchino Visconti
Screenplay: Suso Cecchi D’Amico and Luchino Visconti in collaboration with Carlo Alianello, Giorgio Bassani and Giorgio Prosperi
Based on the novella: Senso by Camillo Boito
Starring: Farley Granger, Alida Valli, Massimo Girotti, Heinz Moog, Rina Morelli, Christian Marquand, Sergio Fantoni
Country: Italy
Running Time: 123 min (Italian version); 121 min (English version)
Year: 1954
BBFC Certificate: PG

Italian film director Luchino Visconti has proven to be highly influential, inspiring the likes of American greats Martin Scorsese and Francis Ford Coppola. Visconti was the epitome of an auteur, taking full control of his works, which are distinctive and easily recognisable.

From his epic Italian works like my personal favourite, 1960’s Rocco and His Brothers, to 1963’s The Leopard and onward to a trio of later films that have become known as his ‘German Trilogy’, 1969’s The Damned, 1971’s Death in Venice and 1973’s utterly epic biography Ludwig, Visconti has directed some enduring masterpieces.

Another of his true masterpieces has just been given a wonderful release by Radiance Films, 1954’s Senso, starring a glittering cast headlined by Farley Granger and Alida Valli and ably supported by the likes of Massimo Girotti, Heinz Moog and Rina Morelli.

The film is a loose adaptation of the novella by the same name by Camillo Boito. The story follows the Countess Livia (Valli), who lives in Venice in 1866, the Italian city then occupied by Prussia on the eve of the Third Italian War of Independence. The cousin of the countess is Ussoni (Girotti), an exiled revolutionary Italian nationalist who is in full support of the efforts of general Guiseppe Garibaldi to force the Austro-Hungarian forces out of Italy.

Almost as soon as the film begins, the married Countess meets and falls madly in love with the charismatic Prussian officer called Franz (Granger) following a chance encounter at the opera. Franz’s money-fuelled intentions are not entirely honourable, as we shall find out. A story of obsession, doomed romance and betrayal plays out against the backdrop of war.

First things first, what a cast! The film’s leads are played by Granger and Valli, but neither were first choices for their roles. Instead, the duo initially lined up to star were Marlon Brando and Ingrid Bergman. Brando and Bergman were not cast for very different reasons, outlined in the essay which accompanies this release. Farley and Granger are both fantastic in their roles, though, and it’s difficult to imagine the film without them.

It’s easy to see why Valli’s Countess would fall for Granger’s Franz, yet the latter soon shows his true colours; he’s a smarmy womaniser and deserter and Granger plays the character impeccably well, even though he’s understandably dubbed in the Italian version. Valli is also magnificent, initially smitten and happy with her new suitor, but soon this turns to obsession, and later betrayal. She plays each facet of her character’s emotion impeccably.

As one of the booklet essays points out, the story which plays out on screens was inspired by Visconti’s passion for the composer Guiseppe Verdi, the playwright and short story writer Anton Chekhov and Italy’s political history. Opening in the La Fenice theatre in Venice, as the story plays out those inspirations are clear to see.

The film was Visconti’s first in technicolour, but you’d think he’d been filming this way for years. It’s an incredibly assured piece of art, as is to be expected from a director of his calibre, with the full colour palette used to great effect.

The world is vividly brought to life thanks to the work not only of Visconti, but of a few of the director’s collaborators. Firstly, the cinematography by G.R. Aldo and Robert Krasker, as well as the late great Guiseppe Rotunno, who shot key sequences. There are some utterly breathtaking visuals in the film – you could pause an endless number of times and the stills you’d see could be like they were taken from a painting. The war is the backdrop to the story and, when we finally see it, the cinematography is suitably epic – including a marvellous 90-degree pan across a battlefield that is a real sight to behold.

But no matter the quality of the director or cinematographer, for a historical period epic, you need the world and the characters to look the part, and that’s certainly the case thanks to the gorgeous production design by Ottavio Scotti, set decoration by Gino Brosio and costume design by Marcel Escoffier and Piero Tosi. The attention to detail is painstaking, and the way the film is shot means that at times you’d think you’ve travelled back in time and are watching a documentary.

There are some fabulous scenes throughout, but aside from the war sequence, it’s the finale that stands out for me. It is absolutely outstanding, from Granger’s unhinged, demented manipulative deserter Franz, finally coming clean to the Countess about his true motivations and feelings (including his links to the cousin of the Countess), to a devastated Countess coming to terms with what she must do. It’s marvellously acted, beautifully shot and incredibly dark in tone.

Luchino Visconti’s Senso is a masterful historical costume drama of romance and tale of deception, which grips from start to finish. It features impeccable acting and is simply breathtaking to view, with a rich array of beautiful visuals thanks to sumptuous production and costume design, outstanding cinematography and, of course, top tier direction from Visconti.

Film:

Senso is available now in a limited-edition release by Radiance Films. Three versions of the film are presented over two discs. I checked out the 1:37:1 ratio English language version and the 1:66:1 Italian version, but my main watch was the 1:37:1 Italian version, which I found to be the best, which doesn’t feel as claustrophobic due to the increased vertical detail. The 1:66:1 version seems to be zoomed in, which means we lose that vertical detail. The English language version is certainly a curio, allowing us to hear Granger and Valli’s voices, and it’s fantastic to see it included, particularly as the previous English language version most widely available was half an hour shorter.

The picture quality on the Italian version is phenomenal. The film has been restored in 2K by Cineteca Di Bologna and The Film Foundation with supervision by director of photography Guiseppe Rotunno and Martin Scorsese, and excellent colour correction. It’s a very clean print and the quality is outstanding, with plenty of fine detail which showcase the cinematography, production design and costume design and a very natural colour palette. There are some softer shots, including the finale, but it mostly looks great. The audio is also really good, dialogue is clear, and music and effects are also provided with clarity.

Limited edition Bu-ray features:

2K restoration of the film by Cineteca di Bologna and the Film Foundation with supervision by cinematographer Giuseppe Rotunno and Martin Scorsese, presented in 1.33:1 and 1.66:1 versions across two discs

Original uncompressed PCM mono audio

Alternate presentation of the film for English markets with dialogue written by Tennessee Williams and Paul Bowles in collaboration with Visconti, from newly transferred audio of the longest available version, a world premiere on Blu-ray (121 mins)

Luchino Visconti – Carlo Lizzani’s documentary on Visconti’s life and career features contributions from Claudia Cardinale, Burt Lancaster, Francesco Rosi and more (1999, 62 mins)

Archival interview with Luchino Visconti and Maria Callas in discussion about Senso and opera (1969, 22 mins)

New interview with critic and fashion historian Matteo Augello (2025, 19 mins)

Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow

Limited edition booklet featuring new writing by Christina Newland

Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings

Carlo Lizzani’s 1999 documentary Luchino Visconti, originally filmed for Italian television, is brilliant, covering plenty of ground in an hour and featuring some warm tributes from some of those the director worked with. There are plenty of clips from his films, a good run through his life before and during cinema, and some contemporary scene-setting clips of locations important to his life and career. A very welcome inclusion.

The black and white archival interview with Visconti and legendary soprano Maria Callas from 1969 is another fine inclusion, allowing the director to discuss his love of opera. He also touches on his works with Callas and, of course, Senso. The interview is taken from the series L’Invité Du Dimanche (The Sunday Invitation) and was originally broadcast on French television in April 1969.

Critic and fashion historian Matteo Augello’s piece is first class, exploring the attention to detail and historical accuracy of the production and costume design in the film. He touches on his love of the film, and of the director’s work, including the use of mirrors and reflections in his films, including one of the opening sequences in Senso. Augello is a pleasure to spend time with, and adds some perceptive insight into the film and career of Visconti.

The stills gallery contains 10 images that showcase the beauty of the film.

The 28-page booklet is a typically strong one from Radiance, featuring two new essays. The first by Christina Newland is entitled Between Life and Theatre: Luchino Visconti’s Senso. It’s a fabulous introduction to the film, covering the story, its place in Visconti’s filmography, and a look at some of the crew and cast. It’s an excellent piece. In the other essay, entitled Tennessee Williams, collaborative dialogue, and The Wanton Countess, Paul Martinovic looks at the different versions of the film and how American playwright Tennessee Williams came to be involved. Whilst it’s widely considered that Williams was predominantly responsible for Farley Granger’s scenes, the essay highlights how Williams was also a “huge influence on the narrative design of Senso more generally”. Martinovic highlights the edits made for various versions of the film, including the 90-minute cut that’s largely been the one American audiences will have known the film by over the years.

In conclusion, Radiance Films continue their fabulous run of excellent limited editions with a fabulous release of Luchino Visconti’s outstanding Senso. The two-disc set features three presentations of the film, outstanding audio-visual presentation for the Italian-language presentations, and includes a wonderful hour-long documentary on director Visconti, as well as an archival interview, a brilliant new piece on the set and costume design, and a typically well-appointed and insightful booklet. Whichever presentation of the film you watch, you’re in for a real feast for the senses from a fantastic director.

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