Comparison of David Lean's Doctor Zhivago and Luchino Visconti's Senso

I thoroughly enjoyed both of these films. They are "old skool" films. Yet they reach a level of dramatic intensity that is unrivalled in contemporary Cinema. Both deal with doomed love affairs set during times of intense political crisis. Doctor Zhivago during the Russian revolution and Senso during Italy's war with Austria.

In both films the love affairs turn bitterly sour leaving viewers with feelings of emptiness. In both of these films politics disrupts the love lives of innocent people who can only act within the tumultuous times that they live in. Revolution, war, treacherous, greedy characters who are only out for themselves pervade both narratives. I am reminded of Kamorovsky from Zhivago and the Austrian soldier from Senso. Kamavosky abuses Lara and is a totally corrupt character. The Austrian soldier manipulates and devastates the Italian Countesa. She is willing to give him money and her devotion. Only in return he ends up with a prostitute. Using her money to abscond from military service and live a libidinous lifestyle.

In both films the despicable characters are exposed as unscrupulous. Kamarovsky moves to Siberia and is never heard of again. The Austrian soldier fairs worse. The Italian Countess turns him and is executed for lying about his ability to continue his military service.

Both films were made during a similar era. David Lean was at the height of his powers making Zhivago after Lawrence of Arabia. Visconti was hailed as part of the neo-realist movement and went on to make several films.

I've returned several times to Zhivago. There is something irresistible about the bittersweet end, but the continuing vitality of the Lara poems long after Yuri's death speak a message in direct opposition to Stalinism. Furthermore, it's indictment of Stalinism at the time of the thaw during the Khruschev premiership gives the film added political potency. The shot of Lara walking off to her imminent dissappearance against a giant poster of Stalin is one of the great shots David Lean ever did.

Senso may not have the romantic bittersweetness or the grand political message. Yet does have the ethnic conflict between Austrians and Italians writ large. From the film we see the worst of how the Austrian army behaved and treated it's subjects with arrogance and disdain. The innocent and naive character of the Countess creates a deeply sympathetic feeling for her. She is torn between what she thinks is true love and the aspirations to independence of Italy portrayed through it's revolutionaries. In the end she is deeply dissappointed. We are left with disenchanment. At the end of the film little has been resolved. The Countessa like Italy is in deep emotional anguish unable to free itself from it's oppressors. Yet, the Countesa, like Italy fights for revenge and freedom.

Great films by great directors. Both deal with historical periods and deep questions of political meaning. Can you change human nature regarding Zhivago and freedom and how to attain it in Senso. Both were grandly staged with production values that make them two of the best films of their era.