Hellen I like the storyline of this show,it attract me so much

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Hayleigh Joseph This is ultimately a movie about the very bad things that can happen when we don't address our unease, when we just try to brush it off, whether that's to fit in or to preserve our self-image.

Scott44 ***User-reviewer bennyraldak ("Forbidden desire", bennyraldak from Netherlands, 4 September 2009) sees "Sandra" as being focused on Claudia Cardinale's character's demons. Ilpo Hirvonen ("The decay of an aristocratic family", Ilpo Hirvonen from Finland, 21 September 2010) has a good general summary.*** Luchino Visconti's Sandra (1965), is a puzzling but splendorous visual treat that depicts incest, homo-eroticism, madness and collaboration with the Nazis. Its fairly slow pacing and reluctance to make obvious useful information will challenge those who spend hours a day gazing down at their QWERTY devices. However, "Sandra" is very rich and satisfying; it is flawlessly served up by the great Visconti. (I like it more than "The Leopard.")A modernized retelling of the Greek myth Electra, an attractive, upper-class, socialite couple (Claudia Cardinale in the eponymous role, Michael Craig as her husband Andrew) return to the mansion of Sandra's youth (which she was forced to flee), to attend a small ceremony honoring her father, who was murdered by the Nazis at a concentration camp. When she is reunited with her unstable brother, Gianni (Jean Sorel), the physical connection between them is made very obvious. Their closer-than-normal relationship is never a secret to the audience, but revealing it is a big concern to Andrew and other observers, such as Sandra's barrister stepfather Gilardini (Renzo Ricci). The perpetually nervous Gilardini and Sandra's clinically insane mother (Marie Bell) may also have collaborated with the Nazis by betraying Sandra's father, creating an unusual conflict of pairs.Shot in high-contrast Black and White, Visconti's skill at shooting his photogenic cast in tight quarters is evident. Because the English translation of the film is somewhat talky, it helps to develop the skill of quickly reading the subtitles in order to enjoy Visconti's work. It is amazing how precise and detailed the imagery is. The scenes between the anguished brother and steely sister are frequently filled with erotic tension. Visconti's trademark homo-eroticism is also present, but to a smaller degree.One of the more interesting characters is Sandra's "first love" who is now a physician. He seems to personify not just a mixture of Sandra's husband and her brother, but also the Nazi collaborator Gilardini. At least, that's my interpretation of the final image.Visconti's depiction of a decaying aristocratic family has great depth, and fans of the great director will not be disappointed with it.

Ilpo Hirvonen Luchino Visconti often dealt with the disintegration of family in his films; The Damed, The Leopard, Conversation Piece.. The stories were tragedies and only in Bellissima (1951) the family sticked together in the end. Sandra (Vaghe stelle dell'Orsa...) is also a film about this, but specifically about an aristocratic family full of betrayal, decay and immorality.Incest is a leading theme in Sandra; we are given clues about it throughout the film, but not a definite proof. The affair of the siblings remains in the shadows and there's something odd in the relationships between the children and the parents. Visconti first approaches this controversial theme calmly, showing it as a small thing - we are not told much about it. But then he increases it to enormous dimensions.Luchino Visconti sets this story to a dying city around a aristocratic class that is dying out. Great tragedies, misfortunes and decay lead this class to extinction. Already in Senso Visconti achieved an aesthetic revolution, but he continues this in Sandra with a political and ethic revolution. Sandra is not the easiest film by Visconti and many people in the theater seemed to neglect it. In the beginning I found it a little unreachable and absurd but it grew up to be a beautiful allegorical description of the decay of an aristocratic family.

m_imdb-311 About the very beautiful and sensational subtitles, including the car drive through the landscape - with dialogue! - and made without back projection, the burned film material in the right side of the screen might be a malfunction in the technical process, but is still maintained in the copy to stress the holocaust theme of Vaghe stelle dell'Orsa... (the original Italian title of "Sandra" spells a line from the 19th century poet Giacomo Leopardi, quoted later in the film). The burned or overexposed film material is by so far foreshadowing the burning of the plot's MacGuffin-like novel named "Vaghe stelle dell'Orsa" (literary "bright stars of the Bear"). Wonder, what the non-existing contents of the Thorah-like manuscript, who in a sense remind of film reels, really is, since it makes the blackmailed sister so upset? The burned film strip during the subtitles inspired the Swedish director, the newly departed Swedish director Ingmar Bergman to burn the celloid in a scene of his film Persona.The burned edge can only be observed in the DVD version issued from the Japanese market, not in the American, cropped versions on VHS tape.

pldeaguinaga After watching "Sandra...", for the first time in mi life I wanted to know who the director was. It was 1966 and me 15, so until that moment, I was only interested in who starred what but never fully understood the director's work enormous importance. Since then, Visconti not only became one of my favorite directors ever but a parameter when judging a film. Actually, I had seen The leopard years before, when I was to young to notice more than the beauty in Cardinale and the sumptuous sets. About "Sandra" I still remember vividly not only how beautiful and glamorous Cardinale looked but how handsome and elegant Sorel was; how mysterious the whole black and white atmosphere was and the intriguing plot... which I didn't fully understood because even if the action seemed to say something, the subtitles said something else!. I thought then my mother was right when she used to tell me: You are too young to understand this and that. Well, not without relief, I learn, years later, than the subtitles had been made in Spain, during the Franco's days, so its censorship had erased all incest traces. After that, a new copy was made to match subtitles and story (and thats, thankfully, what you can find, at least in Spanish!). But even after so many years, and in my adulthood, I find Sandra as magical as the first time and still is one of my favorite movies, as many Visconti's works like Rocco and his brothers, Death in Venice or The dammed, as well, of course, The Leopard.