Variations on Senso.
The use of the voice-over technique in Visconti’s film
The essay focuses on the peculiar use of the voice-over technique in
Luchino Visconti’s Senso (1954). The film is narrated by its leading female
character, Countess Livia Serpieri, but since the voice is not located in
an autonomous time-space, the conditions of its utterance remaining
unknown, it turns out to be a deeply contradictory and even paradoxical
narrative tool. Investigating Visconti’s film as a melodrama (understood
here not just as a genre, but as a mode of articulating the narrative and
stylistic elements of a filmic text), the absence of a complete flashback
structure is analyzed in connection with both the first-person point of
view of Camillo Boito’s short story upon which the film is based, and the
movie’s own dialogues. Such a comparative approach is particularly useful
as it allows us to fully grasp the different dynamics of subjectivity these
texts describe and to point out the conflict between the film’s historical
setting during the Third War of Italian Independence and its timeless
story of love and betrayal.