165:, but with heavy alterations to characters and introducing numerous new subplots, such as Livia's rebellious cousin Roberto, whose fight against the Austrian occupation troops is chronicled in a good deal of battles. The adaptation moves closer to the war, depicting it explicitly, whilst pushing Livia's back story into the background (unlike the novella, which is narrated through Livia's secret diary – and thus, solely focused on her perception – the film forsakes the diary and switches to third-person narration). The film starred
93:
Though the war drives the lovers apart, Livia feels driven to revisit
Remigio. When she joins him for a tryst, he asks for more money, to bribe the army doctors for a reprieve from the battlefield. Livia gladly gives him all her jewels and gold. Remigio flees to Verona, without bothering even to kiss
89:
Although he obviously is using her, her money, and her social status, Livia throws herself into an affair of complete sexual abandon with
Remigio. She lets him spend her money freely, cares nothing of what society thinks of her, and ignores her new lover's pathetic cowardice when he refuses to rescue
213:
did not romanticize the affair between Livia and Ruz (Helmut
Schultz in the 2002 film), but showed it for what it was: a clinical study in vanity and lust. However, it should be worth noting that both films significantly altered Livia's character, making her much older and sympathetic than she
97:
Eventually her yearning for
Remigio drives Livia nearly mad, but her spirits soar when a letter from him finally arrives. His letter says that he loves and misses her, and that her money and his bribery had allowed him to evade any combat. He asks Livia not to look for him. Still clutching his
101:
She finds the city in ruins, with dead and wounded everywhere. Livia's undeterred. She heads to the apartment she had bought for
Remigio, where she finds him, a drunken, ungrateful rogue, in the company of a prostitute who openly mocks Livia for accepting his abuse.
322:
Italian Women and the City: Essays -Janet
Levarie Smarr, Daria Valentini 0838639658 – 2003 Page 136 Rondolino (Luchino Visconti, 1981, 294) describes Livia's notebook in Boito's novella as "una lunga confessione sentimentale, cinica e sprezzante."
113:
to a general. Her vengeance for
Remigio's philandering infidelity is obvious to the general, yet her motives lend her lover no exemption. The very next morning, Remigio and the doctors he bribed face a firing squad while Livia attends the execution.
149:
s Livia is conscious of her conduct and may cherish the consequence. She feels either indifferent or oblivious to the damage she might do to others. She's ingenuously remorseless, while single-mindedly seeking what is best for herself alone.
205:
Lieutenant and Livia updated to being the wife of a high ranking
Fascist official. Brass later explained that the change in time was made because he did not want to compete with Visconti's vision of
126:
exclusively, in the form of her secret diary. She distinctly describes her selfish lust, her sexual desire, and something akin to joy that she feels on the occasion of her lover's execution.
36:
is
Italian for "sense," "feeling," or "lust." The title refers to the delight Livia experiences while reflecting on her affair with a handsome lieutenant. The novella is typical of
193:
as her lover. The story of the film is much more faithful to
Camillo Boito's work than the earlier adaptation in terms of tone and story, but the action was transported from the
269:
380:
109:
when Livia remembers she still has his letter. Livia finds the Austrian army headquarters, where she indicts Remigio by presenting his proof of
385:
28:, an Italian author and architect. He wrote it around 1882. The novella develops a disturbing account of indiscriminate indulgence in
194:
82:. Her reverie transports us to Venice during the war, where Livia falls in love with Remigio Ruz, a dashing young lieutenant in the
60:
52:
375:
78:
The story opens a few years after the war, with Livia reminiscing on her 39th birthday about her first truly passionate
185:
after reading the novella and finding himself unsatisfied with Visconti's liberally adapted version. The film starred
262:
255:
123:
365:
351:– A Palimpsest", essay on luchinovisconti.net (Analysis of the film, the original novella, and the 2002 remake)
230:
290:
370:
346:
72:
234:
98:
letter, she promptly boards a carriage and heads straight to Verona to find her loyal lover.
158:
83:
218:
170:
359:
297:
283:
248:
190:
142:
137:
131:
37:
25:
105:
Mortification drives Livia out into the night. Shame shapes her lingering lust into
226:
206:
198:
186:
162:
181:
176:
166:
276:
79:
110:
64:
56:
341:
336:
222:
106:
68:
202:
29:
75:, and who willingly wanders in response to her yearnings.
217:
In 2011, an opera based on the novella premiered in
161:very loosely adapted the novella in 1954 using the
229:. The role of Livia in the premiere was played by
129:Unlike the authors of such similar characters as
40:literature, which was at its peak at the time.
301:(a gender role reversal on the same themes as
8:
342:IMDb.com listing for the Tinto Brass version
145:presents his protagonist without sympathy.
71:, who is married unhappily to a stuffy old
243:For books or films with similar themes:
315:
337:IMDb.com listing for the Visconti film
214:appeared in Boito's original novella.
209:-era Italy. Unlike the 1954 version,
63:in 1866. Its protagonist is Livia, a
7:
270:Lady Macbeth of the Mtsensk District
14:
381:Italian novels adapted into films
195:Third Italian War of Independence
61:Third Italian War of Independence
16:Italian novella by Camillo Boito
1:
179:adapted the story in 2002 as
122:The novella presents Livia's
386:19th-century Italian novels
402:
256:In the Realm of the Senses
201:, with Remigio becoming a
173:as her duplicitous lover.
24:is an Italian novella by
225:, Sicily, with music by
347:Alberto Zambenedetti, "
263:Lady Chatterley's Lover
291:The End of the Affair
231:Nicola Beller Carbone
376:Fiction set in 1866
90:a drowning child.
59:about the time of
30:selfish sensuality
393:
366:Italian novellas
324:
320:
159:Luchino Visconti
401:
400:
396:
395:
394:
392:
391:
390:
356:
355:
333:
328:
327:
321:
317:
312:
241:
156:
120:
46:
17:
12:
11:
5:
399:
397:
389:
388:
383:
378:
373:
368:
358:
357:
354:
353:
344:
339:
332:
331:External links
329:
326:
325:
314:
313:
311:
308:
307:
306:
294:
287:
280:
273:
266:
259:
252:
240:
237:
219:Teatro Massimo
197:to the end of
171:Farley Granger
155:
152:
119:
116:
45:
42:
15:
13:
10:
9:
6:
4:
3:
2:
398:
387:
384:
382:
379:
377:
374:
372:
369:
367:
364:
363:
361:
352:
350:
345:
343:
340:
338:
335:
334:
330:
319:
316:
309:
304:
300:
299:
298:Venus in Furs
295:
293:
292:
288:
286:
285:
284:Madame Bovary
281:
279:
278:
274:
272:
271:
267:
265:
264:
260:
258:
257:
253:
251:
250:
249:Anna Karenina
246:
245:
244:
238:
236:
235:
232:
228:
224:
220:
215:
212:
208:
204:
200:
196:
192:
191:Gabriel Garko
189:as Livia and
188:
184:
183:
178:
174:
172:
169:as Livia and
168:
164:
160:
153:
151:
148:
144:
143:Camillo Boito
140:
139:
138:Madame Bovary
134:
133:
132:Anna Karenina
127:
125:
117:
115:
112:
108:
103:
99:
95:
94:her goodbye.
91:
87:
85:
81:
76:
74:
70:
66:
62:
58:
54:
50:
43:
41:
39:
38:Scapigliatura
35:
31:
27:
26:Camillo Boito
23:
22:
348:
318:
302:
296:
289:
282:
275:
268:
261:
254:
247:
242:
227:Marco Tutino
216:
210:
207:Risorgimento
199:World War II
187:Anna Galiena
180:
175:
157:
146:
136:
130:
128:
121:
104:
100:
96:
92:
88:
77:
48:
47:
33:
20:
19:
18:
371:1882 novels
177:Tinto Brass
167:Alida Valli
154:Adaptations
124:perspective
32:. The word
360:Categories
310:References
277:La Regenta
163:same title
73:aristocrat
51:is set in
211:Senso '45
182:Senso '45
111:desertion
107:vengeance
239:See also
84:Austrian
65:countess
57:Trentino
223:Palermo
53:Venetia
44:Summary
34:"senso"
147:Senso'
86:army.
80:affair
69:Trento
349:Senso
303:Senso
118:Style
67:from
49:Senso
21:Senso
203:Nazi
135:and
55:and
221:in
362::
305:.)
141:,
323:.
233:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.