La Sconosciuta (The Unknown) (The Other Woman) (2008)
Critic Consensus: If it's occasionally manipulative, this Italian melodrama mixes thriller conventions with a poignant love story and keeps the tension rolling from start to finish.
La Sconosciuta (The Unknown) (The Other Woman) Videos
as Irene/The Unknown Woman
as Valeria Adacher
as Donato Adacher
as Irena's Lawyer
as Thea Adacher
as Irena's lover
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Critic Reviews for La Sconosciuta (The Unknown) (The Other Woman)
Tornatore, best known for Cinema Paradiso, has meticulously crafted a story that's at times so raw it hurts to watch. Its action blends piercingly lit flashbacks and dream sequences with a gray, prosaic present in an unnamed Italian city.
The Unknown Woman falters when it falls into exploitation and fatal contrivance.
The film has major problems blending the strong social theme of exploitation and white slavery with Tornatore's noirish screenplay, full of holes and improbabilities.
Plays like a cross between Hitchcock and tabloid feminism, a mix that shouldn't work and doesn't.
A spellbinder with a lot of Hitchcock touches and an Ennio Morricone score to match.
Audience Reviews for La Sconosciuta (The Unknown) (The Other Woman)
For me, it turned out to be an average thriller, with okay performances. That you can see the twist coming was not as much a problem as its pacing. Relatively necessary sequences were rushed through, while hardly important scenes were allotted unnecessarily more time. Besides, the over-exposure was exceedingly forced in with the "script's requirement" excuse. Other than that, it's quite watchable; just hope enough is left. Thankfully, it ain't thoroughly disappointing, and has a few moments.
I found this movie a little odd. A little disturbing. A little confusing....and just not very well written, in my opinion. Too many loose ends, also.
Tornatore shaking off the etiquette of sensible coming of age storyteller with this insidious and violent intrigue with traces of giallo and the unavoidable Hitchcock (a femenine character sort of traumatized femme fatale with similar neurotic antics to those of Tippi Hedren in "Marnie", and Ennio Morricone's music uses Herrmann-esque violins. The only flaw: Michele Placido's character, underdeveloped and sometimes bordering caricature. Nevertheless, its suspenseful and rythmic plot never decays, ending up in a pretty pleasant way.
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