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 »
Historical evocation of Ludwig, king of Bavaria, from his crowning in 1864 until his death in 1886, as a romantic hero. Fan of Richard Wagner, betrayed by him, in love with his cousin ... See full summary »
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 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 »
Gino, a young and handsome tramp, stops in a small roadside inn run by Giovanna. She is unsatisfied with her older husband Bragana : she only married him for money. Gino and Giovanna fall ... 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 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 <email@example.com>
The wage difference between main and co-star was vast, while Bjorn Andresen earned just $5000, Dirk Bogarde's salary for his role was one hundred times that. See more »
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 »
Do you know what lies at the bottom of the mainstream? Mediocrity.
See more »
Luchino Visconti's "Death in Venice" is a masterpiece of utterly haunting beauty that will capture the imagination of anyone interested in the screen's capacity for breathtaking images. It is a poignant tragedy based on Thomas Mann's classic novella of the same name. Visconti has captured many of the essential qualities of the book and employed a superb visual style (with the assistance of the great cinematographer Pasqualino DeSantis) for a story which is essentially an interior one. It is about the struggle within the soul of a man, Gustav von Aschenbach, a composer vacationing in the Venice of 1911.
In Mann's book Aschenbach was a writer, but Visconti asserted that the book had been inspired by events in the life of Gustav Mahler, whose music, mostly the haunting adagietto of his Fifth Symphony, is used as background (and foreground) music, helping create an almost tactile mood of melancholy.
Dirk Bogarde plays Aschenbach, a man possessed by feelings of failure, haunted by the grief he and his wife (Marisa Berensen) shared over the death of their daughter. He is a man on the precipice of emotional collapse who finds both redemption and destruction in the contemplation of beauty. "The creation of beauty and purity is a spiritual act." God and composers are alike.
In this film beauty becomes incarnate in the form of a young Polish boy vacationing at the same hotel, the Hotel des Bains on the Lido. The boy's stately mother is played by Silvana Mangano. The long-haired blond boy is Tadziu, aged 14, played by the Swedish Bjørn Andresen. Andresen is smitten by, then obsessed with, the boy's beauty, in a manner that is more spiritual than sexual, but which must also contain a good deal of sublimated sexual longing.
At first he merely steals opportunities to look at the lad. They never speak. Gradually he starts to seek him out, self-destructively spurred-on by the boy's coquettishness and knowing glances. Bogarde makes the character's longing as tangibly moving as it is ultimately pathetic.
All this takes place in a misty Venice dense with metaphorical gloom and a mysterious plague (cholera) carrying death to its inhabitants. In one horrifying scene a barber "re-makes" Aschenbach's face so that it is both a grotesque parody of youth and an ominous death mask.
Visconti's skill in recreating lush period detail, to paint family-album poses of aristocracy, to make beauty seem dangerous, to underline the complexity of human psychology, are all in evidence here. The color photography by Pasqualino De Santis, and the costumes by Piero Tosi are excellent.
The ending of the film is unforgettable: Gustav languishing on the beach, the Polish folk song in the background, the boy Tadziu in the water turning into an angelic apparition with extended hand. Overwhelming!
I cannot imagine a better film ever being made of Mann's great and essential work.
70 of 79 people found this review helpful.
Was this review helpful to you?