In Fascist Italy, Gino Costa (Massimo Girotti), a young/handsome tramp, stops at a humble restaurant (trattoria) run by Giovanna (Clara Calamai) and her husband Bragana (Juan de Landa). Giovanna is unhappy w/ her older/controlling husband, who she married for security/money. Gino does some work around the place and he and Giovanna quickly fall in love. She refuses to run away w/ him and lead the life of a poor wanderer. Gino leaves for another town and becomes friends w/ a street artist, Lo spagnolo (“the Spaniard”); they work together for a few weeks. One day, Gino sees Giovanna and Bragana at a street fair; it is obvious that they haven’t gotten over each other. After a day of fun (w/ plenty of drinking on Bragana’s part), Giovanna comes up w/ a plan to finally be rid of her husband! Gino (though reluctant) goes along w/ the plan.
The film’s negative was destroyed by the fascist government of Benito Mussolini during WWII, but (first-time director) Luchino Visconti managed to save a print. In Italy, some priests sprinkled theaters w/ holy water after this film was shown- LOL! Obsession wasn’t seen in the U.S. until 1976, as James M. Cain’s publishers fought the release. Cain is perhaps best known for Double Indemnity, though The Postman Always Rings Twice was quite a popular work also. I heard about it recently (from a Facebook film noir group); it caused quite a controversy and was way ahead of it’s time.
The original actress cast for Giovanna was the glamorous/diva-like Anna Magnani, but she became pregnant before shooting. Unlike some other femme fatale, Giovanna isn’t glamorous or evil; she is more like a spoiled girl-next-door (too good to cook and clean). Bragana isn’t totally a bad man either, but (like many husbands of his day) has to “wear the pants” in the family. He is short, stout, and unattractive (though he can be jovial at times). Gino is down on his luck, not that educated, but also handsome w/ a strong physical presence. Lo spagnolo (Elio Marcuzo) brings a sense of lightness/fun into the film; I really liked his character. The young dancer/part-time prostitute, Anita (Dhia Christiani), is only in the film for few minutes, but she made a big impression. The director and actress were able to do a lot w/ this character- I thought she was heartbreaking!
Most of the people behind the film were still in their 20s and willing to take risks. Let us compare these two scenes where the (would-be) lovers first see each other. In the ’46 American film noir (starring Lana Turner and John Garfield), we first see Cora (the object of desire) from the POV of Frank. Here we first see Gino’s face from the POV of Giovanna (making the man the object of desire)! While the American version gets more into the world of cops and lawyers, Obsession concentrates more on the psychological effects of the crime on the lovers. If you’d like to know more re: the neo-realism movement, check this film out.
 Ossessione is a very complex film with complex characters. It’s always fascinating, but it does go on a bit too long. This is partly due to the neorealist stylistics that Visconti was inventing within this film. It was, after all, the first film that won that label. We see a lot of the action prolonged as it would be in real life, without any hurrying to the next plot point.
 The movie is brilliantly filmed, and the acting by the three leads are first rate. You really get a genuine insight into 1940s Italian working class life. The character of The Spaniard adds an interesting touch to the story with a possible homosexual relationship between Gino and himself. It’s very subtle but it’s there if you look. […] The movie is surprisingly frank for the time and period (Mussolini’s Italy), much more realistic and earthy than Hollywood movies of the same period.
 …such graceful camera movements, such beautiful composition, such wonderful faces, such terrific characters, such a great story development, the first movie adapted from James M. Cain’s “The Postman Always Rings Twice.”
…I can’t believe this was made in ’43, eight years before Brando was supposed to have introduced realistic acting to the world with A Streetcar Named Desire (1951). The actors in this may not have used the method technique… but they’re some of the best, most genuine and realistic performances up to this date in cinema.
-Excerpts from IMDB reviews