Luchino Visconti's Dostoevsky adaptation
[media=https://youtu.be/PKM4XE1S5ac]
I've been listening and will be finishing the audiobook rendition of this novella read by Malk Williams, and if you like his voice which shall be heard in the 2nd upcoming vocaroo in November 9, 2026 post, then you're in for a treat as he also does a 100 hr one of a thinker that stands for an ism that most people these days who use it as a term of ridicule don't have any idea what it is, it'll be coming, and he does other Russian novels including in this Dostoevsky "complete" collection.
Visconti's film here is to me one of the most normal films he ever made but done in a solid and reliable manner. The films of his i remember more distinctly though are more on the opulent and epic side of things -- Senso, The Leopard and one of Fassbinder's top 10 films THE DAMNED, and his early works Ossessione and La Terra trema, which are right there at the origins of the great film movement known as Italian NeoRealism with his fellow filmmakers Roberto Rossellini and Vittorio deSica, and the early work of Michelangelo Antonioni and Federico Fellini. Another Dostoevsky film adaptation I remember as also being middle of the ground but solidly made was Japanese Akira Kurosawa's The Idiot.
I've been listening and will be finishing the audiobook rendition of this novella read by Malk Williams, and if you like his voice which shall be heard in the 2nd upcoming vocaroo in November 9, 2026 post, then you're in for a treat as he also does a 100 hr one of a thinker that stands for an ism that most people these days who use it as a term of ridicule don't have any idea what it is, it'll be coming, and he does other Russian novels including in this Dostoevsky "complete" collection.
Visconti's film here is to me one of the most normal films he ever made but done in a solid and reliable manner. The films of his i remember more distinctly though are more on the opulent and epic side of things -- Senso, The Leopard and one of Fassbinder's top 10 films THE DAMNED, and his early works Ossessione and La Terra trema, which are right there at the origins of the great film movement known as Italian NeoRealism with his fellow filmmakers Roberto Rossellini and Vittorio deSica, and the early work of Michelangelo Antonioni and Federico Fellini. Another Dostoevsky film adaptation I remember as also being middle of the ground but solidly made was Japanese Akira Kurosawa's The Idiot.
46-50, M
