The Postman Always Rings Twice

Adaptations Smackdown

vs.

The Postman Always Rings Twice (1946)

a film by Tay Garnett

vs.

Ossessione (1943)

a film by Luchino Visconti

Introduction

Both of these movies are screen adaptations of the novel The Postman Always Rings Twice (1934) by James M. Cain. This is the story of a drifter who has an affair with the beautiful wife of road restaurant owner much older than her. They conspire to get rid of the husband and attempt to start a new life together without losing the restaurant.

In the blue corner: from 1943, the movie that has been considered the first Italian neorealist film. The first film of Luchino Visconti, the director of The Leopard, Death In Venice and Saló. After escaping the censorship of the fascist government and distribution issues here is: Ossesione.

In the red corner: from 1946, from the powerful Metro-Goldwin-Mayer, featuring Lana Turner and John Garfield. Along movies like the Maltese Falcon and Out of the Past a representative of the America film-noir. After escaping the Hays code censorship here: is The Postman Always Rings Twice.

Round 1. Cross-counter of femme facts

The Postman Always Rings Twice opens with a lipstick rolling on the floor and the camera follows it to find the long and beautiful legs of Lana Turner. Ossessione opens with a nicely composed image and a suggestive pair of legs but the Hollywood take is an instant classic. The femme fatal is the heart a film-noir and Turner is a great one. Round for The Postman...

Round 2. Cinematography jab

Right after the opening scene the The Postman... forgets about the camera movements and Ossessione is rich in travelings and open takes, the camera descends into the action and moves with the characters. The great takes of Ossessione make the road one more character. Round for Ossessione.

Round 3. Punching cinema

But Ossessione is not an easy film to watch. The rhythm of the Italian makes the subtitles hard to follow and the condition of the film and its DVD transfers is really poor. The composition of the story, the clear dialogs and the staged situation make the American adaptation a more accessible film. Round for The Postman...

Round 4. Realism uppercut

However, Ossessione is a richer film. Visconti took the camera to the street. The people and the actions in the background give a new dimension to the story and suddenly the characters acquire personality and seem guided by confuse and capricious human emotions. The great weakness of The Postman... is the interpretation of the husband as a player in this story of desire and ambition. The drifter and the wife do the trick and although the lawyers are pretty good, round for Ossessione.

Round 5. Boxing styles

If Ossessione was a boxer it would be an out-fighter, a boxer that tries to wear and opponent down by strategy, rather than simply knocking him out. The Postman... is a swamer, a boxer that overwhelms by applying constant pressure. Different styles, effective in different aspects, they are both good movies, but the final point goes to Ossessione for pushing the cinematographic and narrative boundaries, for being the suggestive movie that The Postman... longed to be.

And the winner is, by eleKino's decision: Ossessione.