Luchino Visconti’s 1943 film Ossessione is considered one of the earliest examples of Italian neorealist films even though it doesn’t reflect all its conventions. On the other hand, one can notice elements of the American film noir tradition. Both are styles emerging after the Second World War as an expression of the collective consciousness and traumas. This paper examines Ossessione as a great film to study the edges of film noir in an international context implemented near the beginnings of a groundbreaking movement in Italian cinema.
Bicycle Thieves reminds the Hollywood viewer of the unpleasant reality outside the movie theatre.