Retired professor of American origin lives solitary life in luxurious palazzo in Rome He is confronted by vulgar Italian marchesa and her companions: her lover, her daughter and daughter's ... See full summary »
In this adaptation of the Thomas Mann novel, avant-garde composer Gustave Aschenbach (loosely based on Gustav Mahler) travels to a Venetian seaside resort in search of repose after a period... See full summary »
In an atmosphere of political tension when the French still control Algiers, an Algerian is killed on the beach and a French man who has lived in Algiers all his life is arrested for the ... See full summary »
The power and fortune of the Von Essenbeck family remained intact even when Germany lost the great war and during the depression that followed. Now it's 1934 and the baron has summoned his family to a dinner that also brings a cousin rising in the Nazi party to the great house accompanied by a rising manager at the baron's company. Two little girls recite poetry in the parlor and then play hide-and-seek with their cousin Martin. Suddenly there is a scream. The baron has been shot with their father's gun and the father flees the country. Written by
Dale O'Connor <email@example.com>
This was the first X-rated film to be shown on American network television, although heavily edited and in a late-night time slot. See more »
Throughout the film, SS-Captain Aschenbach is referred to as a "Hauptsturmfuhrer". However, prior to 1934 (when the film is set) the SS referred to the rank of Captain as "Sturmhauptfuhrer". See more »
Sophie Von Essenbeck:
Don't fool yourself, however, Elizabeth. Don't dream of coming back one day to find a Germany which was so dear to your heart. It's finished, that Germany, forever. There will be no other Germany but this one, and you will not be able to escape it for it will spread before you know it all over Europe and everywhere!
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Most of the previous reviews noted the link in this sumptuous piece of high camp with Hamlet, but only one noted the secondary English title was a direct reference to Wagner's Twilight of the Gods. Presenting the rise of Nazism as a camp Wagnerian Soap Opera was what Visconti was after, I think. He succeeds brilliantly. Yes, it is distasteful in it's perversions, but Nazism was pretty distasteful in it's reality, and perverted too. I am not gay, but the Night of the Long Knives is one of the most memorable bits of cinematography I have seen- a cross dressing SA thug by the Wannansee having a premonition of doom at the hands of the SS- go figure! Thulin and Rampling are superb, Bogarde believable (in an utterly unbelievable role), and Berger chews the carpet in a way that gives overacting a good name. Not to be missed.
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