WasAnnon Slow pace in the most part of the movie.

Sexyloutak Absolutely the worst movie.

Sabah Hensley This is a dark and sometimes deeply uncomfortable drama

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

MartinHafer "L'Innocente" is a pretty film to watch. This can be said for just about all the films of Luchino Visconti that I have seen. He really knew how to make a quality film--great sets, lovely costumes and nice cinematography. However, I will also say that I hardly ever have enjoyed a Visconti film (with the exception of "Rocco and His Brothers" and perhaps one or two others). While they look great, they also move at a glacial place and feature characters I really couldn't care less for...and this makes for very slow viewing. Artsy folks and critics LOVE films like "The Leopard", "The Damned" and "Death in Venice", I just found them to be overlong and curiously uninvolving.I could say all this about Visconti's final film, "L'Innocente"-- a film that once again looks great but also have no one in the film that you care one bit about as well as glacial pacing. Even the sight of an incredibly beautiful naked woman in some incredibly graphic scenes weren't enough to make the film interesting-- something that is VERY difficult to achieve. I could talk about the story, but frankly it COULD have been interesting...but wasn't. My only thrill came at the end when one of the characters killed themselves...at least then I knew it was finally complete!

David Traversa Could we qualify a movie as Ardent? I think so, at least I do when remembering this film. Maybe it's because of the smoldering story it tells, maybe because of the passionate characters temperament, maybe because of the gleaming beauty of the surroundings, the extremely luxurious interiors of upper class old noblesse, with their incredibly gorgeous 'Fin de Siecle' gowns and jewels and objects and music... What a superb film!Jennifer O'Neil devastatingly beautiful and seductive as the self-assured, selfish, spoiled, ambitious, self-seeking lover, as much as Laura Antonelli as the opposite side of the coin but in a lower key, as the humble and insecure, betrayed, embittered, resentful wife, but also devastatingly gorgeous. And Giancarlo Giannini, holder of the most beautiful male green eyes ever shown on a close up, and adding to that his fantastically sensuous voice. We end up watching this ultra-refined European product that only a Visconti and very few other directors (Kubrick with "Barry Lindon") could have had the exquisiteness of taste to produce.The libretto is first rate and overwhelming in its slow development (and that makes almost unbearable the unpredictable climax) leaving us almost as devastated as its female protagonist, when she walks away while an early dawn starts defining the outline of the magnificent garden surrounding that incredibly perfect building where life had just ceased to exist.

msantayana I saw "L' Innocent" in the mid-eighties, at at time when I was discovering a lot of Visconti's films from his last period ("Death in Venice"--my favorite--, "The Damned," and "Conversation Piece") It made a very favorable impression then; but I do agree with the viewer who dwelt on the languid pace of the film, highlighted by the sensuous musical score. What saddens me is that not one of the viewers commenting on the film --I have little to add regarding the plot, and am trying to avoid spoilers-has remarked that it is based on a novel by Gabriele D'Annunzio (né Gaetano Raspagnetta), the most popular and yet one of the most aristocratic "fin-de-siecle" writers in turn-of-the century Italy. Visconti, the majority of whose films are based on European 19th and 20th century novels, was extremely faithful to D'Annunzio' book, down to the morbidest details. D'Annunzio was a sensual man and what was regarded in his day as a "decadent" poet and novelist. His scenarios were usually luxurious, his characters were often relentless pleasure-seekers, albeit dissatisfied in their passionate search for the ultimate fulfillment of the senses. Tullio, the character so intensely played by Giancarlo Giannini, is a would-be Nietschean "superman", beyond good and evil, as "L'Innocent'(the novel) was inspired by the Italian poet's readings of the German philosopher. Despite the slow pace of the film, I believe "L'Innocent' to be one of its director's most characteristic achievements. The glowing beauty of its female stars (fragile, yet alluring Jennifer O'Neill and earthy Laura Antonelli)and Giancarlo Giannini's seething intensity alone make this movie a worthwhile experience for cinema lovers who favor art over technology and substance over mindless, noisy violence.

davidph Visconti's final film is a brutally beautiful masterpiece. As ever, the film is fetishistic in its attention to detail (witness the scene in which the two leads are having sex and the camera spends ages examining Luara Antonelli's exquisite shoes, bodice and stockings).Giancarlo Giannini and Antonelli play a married couple whose pleasure and displeasure at each other's extramarital affairs border on the masochistic.Giannini, the macho man whose personal moral code allows him not only to take a lover but to tell his wife in great detail about his lustings for his lover, is terrifying as the husband unable to choose between his wife and his lover, hurting both and eventually pleasing neither. But it is often overlooked that Antonelli, whose acting roles prior to 'L'innocente', featured such greats as 'Dr. Goldfoot and the Sex Bombs' and 'The Eroticist', startles as a woman who, although on first glance is 'more sinned against than sinning' but is equally manipulative and sadistic in her relationship with her husband, toying with him as he furiously attempts to make her admit to her indiscretions.