Luchino Visconti

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Related to Luchino Visconti: Pier Paolo Pasolini
Luchino Visconti
Luchino Visconti di Modrone
BirthplaceMilan, Lombardy, Italy

Visconti, Luchino

(lo͞okē`nō vēskôn`tē), 1906–76, Italian film director and writer, b. Milan as Luchino Visconti de Modrone. One of Italy's most acclaimed directors, Visconti has been called the father of neorealism for his early films Ossessione (1942) and La terra trema (1948). His increasingly lavish productions created a heightened sense of melodrama. His late films explore the nature of decadence. Among his other films are Rocco and His Brothers (1960), The Leopard (1964), The Damned (1969), Death in Venice (1971), Ludwig (1973), and The Innocent (1979).

Visconti, Luchino


Born Nov. 2, 1906, in Milan. Italian theater and film director. Screenwriter. Born into an aristocratic family.

Visconti began to work in films in 1936. Rejoined a group of antifascist young film critics and wrote for film periodicals of an antifascist tendency (Bianco i nero and others). Visconti’s first work as a director was the film Ossessione (1942), based on motifs from the novel The Postman Always Rings Twice by the American writer J. Cain. During World War II, Visconti took part in the resistance movement.

Visconti was one of the founders of neorealism. His most significant films are La Terra trema (1948), Bellissima (1951), Senso (1954), Rocco and His Brothers (1960), The Leopard (1962, based on the novel by G. T. di Lampedusa), and The Damned (1970).

Since 1945, Visconti has also worked as a theater director. He has staged productions of A. Miller’s Death of a Salesman (1950) and View from the Bridge (1958) and Chekhov’s Three Sisters (1952) and Uncle Vanya (1956), in addition to Verdi’s operas La Traviata and Il Trovatore. Several of Visconti’s motion pictures have received prizes at international film festivals. Visconti’s creative work is marked by a progressive tendency, a sociohistorical approach to his material, a profound inner link with the traditions of Italian and world literature, and the importance of the subject matter.


“Zemlia drozhit.” In the collection Stsenarii ital’ianskogo kino. Moscow, 1958.
Rokko i ego brat’ia. Moscow, 1962. (Translated from Italian.)


Shitova, V. Lukino Viskonti. Moscow, 1965.
Nowell-Smith, G. Luchino Visconti. London, 1967.
References in periodicals archive ?
Luchino Visconti tiene una trayectoria similar, y aunque habia comenzado su iniciacion sexual con la prostituta Pinuzza, como otros jovenes aristocratas milaneses, Visconti fue conociendo, al principio, sus tendencias homosexuales, y trato de luchar contra ellas casandose con una mujer.
Luckily, director Luchino Visconti managed to save a print.
After an informative and concise analysis, Testa examines films by Bernardo Bertolucci, Luchino Visconti, Pier Paolo Pasolini, Marco Bellocchio, and Paolo and Vittorio Taviani.
Veremos mas adelante cuales son entonces las posibilidades que tiene el realizador ante tal desafio, cuales son los cambios necesarios, y cuales son las opciones especificas que toma Luchino Visconti al hacer su filme.
At that point, Giuseppe Rotunno took over with Luchino Visconti and shot the great majority of the movie I guess [Rotunno is usually credited as camera operator].
In Chapter V, "Eve of Americanization: The Feminine Embodiment of America in Five Postwar Italian Films," Ferrari discusses filmmakers such as Roberto Rossellini, Luchino Visconti, and Michelangelo Antonioni, who as a group represent the United States "as a ticking time-bomb with potentially apocalyptic consequences for Italian culture and tradition" (196).
He also worked with directors from Alfred Hitchcock and Luchino Visconti to Peter Weir.
He penned a book on Luchino Visconti, as well as a superb monograph on Antonioni's L'Avventura.
It is part of the Film Review and Art Exhibition being held in honour of Italian director Luchino Visconti and to mark Italy's National Day which fell yesterday.
From the documentary work of Michelangelo Antonioni on the River Po to the creations of Pier Paolo Pasolini, Roberto Rossellini, and Luchino Visconti, Italian Locations is fraught with works that defined a sense of place--a place transformed and reconstructed in the wake of destruction.
IN THE PROLOGUE to his memoir, Include Me Out, Farley Granger recollects how, in December 2004, he was invited to a Luchino Visconti retrospective at the Brooklyn Academy of Music to view a restored print of Senso, the lavish 1958 melodrama in which he starred as an Austrian deserter who feigns love for a married Venetian countess and leads her into disrepute and an operatic act of revenge.
En 1994 obtuvo el Primer Premio de video-poesia de la Feria Internacional del Libro de Santiago de Chile con "El horizonte no es azul" y el Premio de Adaptacion de Guiones de Cortometraje Luchino Visconti del Ministerio de Educacion.