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Death in Venice (1971)
"Morte a Venezia" (original title)

GP  -  Drama  -  5 March 1971 (Italy)
7.6
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Ratings: 7.6/10 from 11,550 users  
Reviews: 102 user | 52 critic

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 »

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(novel), (screenplay), 1 more credit »
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Title: Death in Venice (1971)

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Nominated for 1 Oscar. Another 18 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Romolo Valli ...
Mark Burns ...
Alfred
Nora Ricci ...
...
Frau von Aschenbach
...
Esmeralda (as Carole Andre)
Björn Andrésen ...
Tadzio (as Björn Andresen)
...
Leslie French ...
Travel Agent
Franco Fabrizi ...
Antonio Appicella ...
Vagrant
Sergio Garfagnoli ...
Jaschu, Polish youth
Ciro Cristofoletti ...
Luigi Battaglia ...
Scapegrace
Dominique Darel ...
English tourist
Edit

Storyline

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 of artistic and personal stress. But he finds no peace there, for he soon develops a troubling attraction to an adolescent boy, Tadzio, on vacation with his family. The boy embodies an ideal of beauty that Aschenbach has long sought and he becomes infatuated. However, the onset of a deadly pestilence threatens them both physically and represents the corruption that compromises and threatens all ideals. Written by Eric Wees <eric_wees@ccmail.chin.doc.ca>

Plot Summary | Add Synopsis

Taglines:

The celebrated story of a man obsessed with ideal beauty.

Genres:

Drama

Certificate:

GP | See all certifications »
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Details

Country:

|

Language:

| | |

Release Date:

5 March 1971 (Italy)  »

Also Known As:

Death in Venice  »

Box Office

Gross:

SEK 630,202 (Sweden)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Tom Courtenay said at the premiere that he felt Alec Guinness should have played Aschenbach, because then the audience would have believed that he was the great composer - "with Dirk, you never felt he was." See more »

Goofs

When Aschenbach first asks the hotel manager about the situation in Venice, the manager finishes by saying, "There's nothing to worry about." His glasses are on his face. The scene cuts to a different angle, and the manager repeats, "Nothing to worry about", but he's holding his glasses in his hands. See more »

Quotes

Gustav von Aschenbach: I remember we had one of these in my father's house. The aperture through which the sand runs is so tiny that... that first it seems as if the level in the upper glass never changes. To our eyes it appears that the sand runs out only... only at the end... and until it does, it's not worth thinking about... 'til the last moment... when there's no more time left to think about it.
See more »

Connections

Referenced in Who's Camus Anyway (2005) See more »

Soundtracks

Adagietto From Symphony No.5
Written by Gustav Mahler
Conducted by Franco Mannino
Performed by The Orchestra of the Academy of Saint Cecilia
Courtesy of Varèse Sarabande
See more »

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User Reviews

A visionary masterpiece (but not for those with short attention spans)!
13 April 1999 | by (USA) – See all my reviews

Turn-of-the-century Venice is depicted in all its elegance and decay through the eyes of a composer who knows he has little time left to live. The composer is obsessed not just with beauty, but with the ideas behind beauty, and his theories are slowly proved wrong when he finds himself infatuated with a beautiful teenage boy. He becomes obsessed with the boy and amidst the backdrop of a city quietly dying with a plague, he simply observes and ponders, trying his best to keep his desires at bay.

The core of the film is in Dirk Bogarde's performance. As there is little dialogue in the film, he must act with his eyes and through his mannerisms, and he never falters. In the reflection of his eyes we see beauty as it is distinguished in the depths of all of our souls (well, those of us who have souls!). We see the awe, the pain, the fever, the fear, the desire and the ultimate surrender all in that forlorn face.

The music (most of it by Gustave Mahler) also reflects all this, and Visconti's incredible photography of the decaying Venice pinpoints the end of an era in a way that is both dreamlike and unsentimental (despite the romantic quality of the film).

The film is slow and langorous, like the hush of the ocean sweeping the shore. For those who like the visual quality of dreams and the somber romanticism of adagios, this film will be something to cherish forever.


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