Visconti’s cinematic structure walks the line between Italian Neo-Realism and melodrama, and it’s the strong performances from Alain Delon and Annie Girardot that fuel the pathos, that reflect the grim sacrifice upon the dark mirrored lake, like polluted shadows obscured by mists of madness. The narrative is divided into five sections, one for each brother, but it’s really the story of Simone and Rocco, and their pervasive self-destructive conflict that threatens the matriarchal family. Simone is a punk, a small-time loser who makes Jake LaMotta look like a good guy, a boxer who gives into his vices and greed, living a brief big life on his small talent. Though he discards Nadia like rubbish, Rocco eventually falls in love with her, and they suffer a torrid affair. But Simone assaults his brother and rapes Nadia, reclaiming his property by force. As Nadia purposely poisons Simone’s life, Rocco begins his rise to fame as a world-class boxer; he hates his brother (and still loves Nadia) but makes the sacrifice in hopes of saving the family.
Finally, Simone’s last desperate act cuts the family to pieces, but Rocco forgives him, focusing his anger and impotence into the boxing ring where he remains champion. But it’s another brother who turns Simone over to the authorities, who dutifully upholds the humanist morality, and passes this secret like a soft whisper of reason to the youngest sibling.
Final Grade: (A)
