The Ruth Snyder - Judd Gray murder in 1927 inspired Ogden Nash to write a Broadway play called Machinal. More famously, it inspired James M. Cain to write two short novels which anyone who has actually reached the point where they are reading this review would be familiar with - Double Indemnity and The Postman Always Rings Twice. Both became film noir classics of the 1940's, Double Indemnity being arguably the most perfect noir ever made. Some of the real-life elements of the Snyder-Gray story were captured by Cain - the old age and indifference of Albert Gray, Ruth's high sex drive, Ruth and Judd's passionate affair and complicity in the murder and that famous double indemnity insurance clause. Missing elements included the fact that the actual setting was a very urban Manhattan - Albert Snyder being a respected newspaper editor. The numerous incompetent and failed attempts were also ignored in order to cut to the chase.
Cain's Double Indemnity was filmed perfectly by Billy Wilder - let's ignore Stanwyck's ridiculous wig as one of those interesting accidents of film lore! The Postman Always Rings Twice, however, was filmed thrice and Ossessione, an Italian version and Luchino Visconti's first film, was the first of three versions. Before commenting on it, I'll recommend the Lana Turner - John Garfield version of 1946 in its entirety and five minutes of the 1981 Jack Nicholson - Jessica Lange version for the great sex scene on the dining table.
Ossessione is not as noirish as The Postman Always Rings Twice. It has a strong neo-realist look which makes it a great movie, but a lot of the essential noir elements are missing. It does not have low-key lighting and unconventional camera angles. The dialog is not hard-boiled and instead the film concentrates more on characterization. This is the longest version of the story and goes deeply into characterization. Its also a lot more sexual than the Lana Turner version. We have a very obvious adulterous relationship and Giovanna is very obviously a nymphomaniac. A new character is introduced into the story - La Spagnola - with very obvious homosexual overtones. There is also a small, but very well-played role for a dancer who moonlights as a prostitute.
This is a far greater study of the working class than of crime. The audience really gets the feeling of poverty and grime. The drifter is a complete tramp, the wife is no Lana Turner and may even have been a prostitute before marriage. Her husband is an obscene capitalist - obese, rude and arrogant. I think the casting was brilliant for this film. My only beef is with the overlong running time. Everything is drawn out too long and it would have been more effective if it had been more economical. Nevertheless, fans of noir and realism will definitely like Ossessione, as I did.

Why, oh, why won't they learn? When you've got a nice, juicy exploitation gimmick, use it! Don't go messing around trying to get all deep and thoughtful; you're only gonna wind up looking foolish.
Christmas Evil is the story of Harry Stadling, who saw a little bit too much of Mommy kissing (Daddy-dressed-as-)Santa Claus back when he was a kid. So, of course, Harry grows up obsessed with Christmas, and finally, when his disillusionment becomes too great, he flips out, dresses as Santa, and wanders the city giving out toys to good little children, and viciously killing anyone he deems naughty.
Simple enough, and not a bad place to start. (After all, how many other holiday-themed horror flicks use the same schtick?) Unfortunately, this film wants to be more "Santa, Portrait of a Serial Killer" than "Silent Night, Deadly Night". Two-thirds of the film are spent documenting Harry's slow but inevitable breakdown, when I would have been willing to buy the premise by the time the opening titles were rolling. You know a slasher film is in trouble when you find yourself urging the killer to just get on with it already.
Perhaps Harry's descent into madness could have been compelling in the hands of a competent director, but alas, we've got some guy named Lewis Jackson. Apparently, this is his only film, and it shows. The action jumps giddily from scene to scene, without establishing shots or clear views of the actors to let us know where we are and who we are seeing.
Even once the film gets rolling, we're still treated to heaping helpings of Harry's self-pity, insecurity, and neurotic behavior. More depressing than frightening, Christmas Evil is one to avoid.