The success of this adaptation of James Cain’s "Postman Always Rings Twice" hinges significantly on its remarkably close-up and admiring cinematography, and it delivers admirably in that regard. Clara Calamai portrays “Giovanna,” who finds herself in a joyless marriage with the older, frequently intoxicated and brutish “Giuseppe” (Juan de Landa), when Massimo Girotti arrives as “Gino.” He’s a handyman of sorts, and they take him on to assist around the property in exchange for lodging. It doesn't take long before she indicates that she would much rather share her bed with him, and the two are soon plotting an exit from her unpleasant situation. Ending it proves surprisingly straightforward, but what happens afterward? The police investigation, insurance complications, a failing business—and feelings of remorse all come into play. It’s this sense of guilt that slowly erodes their bond, and the final hour or so showcases Visconti at his most imaginative. The carefully constructed yet entirely believable presentation of events, along with the music and increasingly rapid-fire dialogue, noticeably heighten the suspense. While Calamai and Girotti have a clear connection throughout the film, it grows stronger as an ambiguous conclusion approaches. One can easily picture how audiences in wartime Italy would have reacted to its exploration of themes like belief, faithfulness, crime, and desire—I’m honestly astonished that every copy wasn't destroyed. Did this postman really ring twice? I am uncertain he did, but ultimately it didn’t seem particularly important to me.

Source on TMDB