foil to Giovanna's traditionalism and inability to let go of the material lifestyle. In contrast to the other main characters, who come across as very real and thoroughly developed, Spagnolo operates chiefly on a symbolic level. He represents for Gino the possibility of a liberated masculinity living a successful life separate from society's impositions—an alternative to the life he is drawn toward in his relationship with Giovanna. Both Giovanna and Gino are tragic characters in their inability to find a space in which to situate themselves comfortably. The limited roles made available by society prove to be insufficient in providing narratives for their lives that bring them closer to happiness. Giovanna is pulled away from the security of her marriage to the repulsive Giuseppe by a desire for true love and fulfillment, whose potential is actualized with the appearance of Gino. Her attempts to hold onto the fortune that came with marriage, however, ultimately lead to the failure of her relationship with Gino and perhaps, by extension, to her death. Gino's situation seems to be just as distinct, if not more so, as the force pulling him away from Giovanna is his fear of a traditional commitment. From the first time that they sleep together, after which Giovanna shares with Gino all of her deepest problems while he listens to the sound of waves in a seashell, it is clear that he answers only to the open road, identifying it as his alternative to becoming an active part of mainstream society. Spagnolo is the road manifest, masculine freedom in opposition to Giovanna's femininity, love, and family values. Caught in between the two conflicting ideals, Gino ends up violating both of them and dooming himself in the process. Visconti's approach to filmmaking is very structured, and there are several parallel scenes in the film, such as the car crashes. Additionally, Gino angrily leaves Giovanna by the side of the road and is later abandoned by Spagnolo in a similar way, and Gino and Spagnolo sit side by side on a wall shortly after they meet, a scene that is repeated at the end of their friendship. Cinematic techniques, such as the instances in which Visconti foreshadows major plot twists or the introduction of Spagnolo as a counterweight, demonstrate Visconti's formalist streak and technical virtuosity, but his realist vision and taste for drama are truly what breathe life into Ossessione. Sources Further