![]() Albert Camus also took inspiration from Cain in devising the epistolary format of his existential opus The Stranger (1942), in which Camus’ apathetic French-Algerian protagonist, Meursault, becomes an open book while facing an open grave, finding not penance but a sort of transcendent futility. In his 1943 debut Ossessione, cinema’s supreme sybarite Luchino Visconti transplanted Cain’s story, without his authorization, to rustic, wartime Italy, where its convention-shattering adultery and brutish behavior bear antifascist overtones Mussolini’s government imposed a moratorium on the movie, whose sparse style, soon to become atypical for its director, was a key harbinger of the country’s nascent neorealist wave. ![]() ![]() Cain’s 1934 novel The Postman Always Rings Twice is seldom referred to as a love story, but as a dark and torrid tale of lethal, extramarital desire with a ruminative and unsentimental streak that has influenced several dissimilar artists. ![]() ![]() Cain paid no mind to matters of the heart. ![]()
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