IMDb > Death in Venice (1971)
Morte a Venezia
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Death in Venice (1971) More at IMDbPro »Morte a Venezia (original title)

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Death in Venice -- 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...

Overview

User Rating:
7.6/10   12,053 votes »
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Director:
Writers:
Thomas Mann (novel)
Luchino Visconti (screenplay) ...
(more)
Contact:
View company contact information for Death in Venice on IMDbPro.
Release Date:
5 March 1971 (Italy) See more »
Genre:
Tagline:
The celebrated story of a man obsessed with ideal beauty.
Plot:
In this adaptation of the Thomas Mann novel, avant-garde composer Gustave Aschenbach (loosely based... See more » | Add synopsis »
Awards:
Nominated for Oscar. Another 18 wins & 6 nominations See more »
User Reviews:
A haunting piece of cinema, a true emotional experience, a masterpiece See more (106 total) »

Cast

  (in credits order) (verified as complete)

Dirk Bogarde ... Gustav von Aschenbach
Romolo Valli ... Hotel manager
Mark Burns ... Alfred
Nora Ricci ... Governess

Marisa Berenson ... Frau von Aschenbach

Carole André ... Esmeralda (as Carole Andre)
Björn Andrésen ... Tadzio (as Björn Andresen)

Silvana Mangano ... Tadzio's mother
Leslie French ... Travel Agent
Franco Fabrizi ... Barber
Antonio Appicella ... Vagrant
Sergio Garfagnoli ... Jaschu, Polish youth
Ciro Cristofoletti ... Hotel clerk
Luigi Battaglia ... Scapegrace
Dominique Darel ... English tourist
Masha Predit ... Russian tourist
rest of cast listed alphabetically:
Eva Axén ... Tadzio's oldest sister (uncredited)
Marcello Bonini Olas ... Nobleman at hotel party (uncredited)
Bruno Boschetti ... Train station employee (uncredited)
Nicoletta Elmi ... Little girl at table (uncredited)
Mirella Pamphili ... Hotel guest (uncredited)
Marco Tulli ... Man who faints at station (uncredited)

Directed by
Luchino Visconti 
 
Writing credits
Thomas Mann (novel)

Luchino Visconti (screenplay) &
Nicola Badalucco (screenplay)

Produced by
Robert Gordon Edwards .... associate executive producer
Mario Gallo .... executive producer
Luchino Visconti .... producer
 
Original Music by
Gustav Mahler 
 
Cinematography by
Pasqualino De Santis (director of photography) (as Pasquale De Santis)
 
Film Editing by
Ruggero Mastroianni 
 
Art Direction by
Ferdinando Scarfiotti 
 
Costume Design by
Piero Tosi 
 
Makeup Department
Maria Teresa Corridoni .... hair stylist: Miss Mangano
Gilda De Guilmi .... hair stylist
Mario Di Salvio .... makeup artist
Mauro Gavazzi .... makeup artist
Goffredo Rocchetti .... makeup artist: Miss Mangano
Luciano Vito .... hair stylist
 
Production Management
Anna Davini .... production manager
Dino Di Dionisio .... assistant production manager
Alfredo Di Santo .... assistant production manager
Egidio Quarantotto .... production supervisor
Annie Rozier .... assistant production manager
Umberto Sambuco .... assistant production manager
Bruno Sassaroli .... assistant production manager
 
Second Unit Director or Assistant Director
Albino Cocco .... assistant director
Paolo Pietrangeli .... second assistant director
 
Art Department
Nedo Azzini .... set dresser
Gianfranco De Dominicis .... assistant set dresser
Osvaldo Desideri .... assistant set dresser
 
Sound Department
Renato Cadueri .... sound mixer
Giuseppe Muratori .... sound
Vittorio Trentino .... sound
 
Camera and Electrical Department
Mario Cimini .... first assistant camera
Gastone Colantoni .... chief gaffer
Aldo Colanzi .... key grip
Nino Cristiani .... first assistant camera (as Michele Cristiani)
Giovanni Fiore Coltellacci .... second assistant camera (as Giovanni Fiore)
Roberto Gengarelli .... second assistant camera
Luciano Leoni .... chief gaffer
Marcello Mastrogirolamo .... second assistant camera (as Marcello Mastrogirolomi)
Mario Tursi .... still photographer
 
Costume and Wardrobe Department
Maria Fanetti .... wardrobe
Paolo Luciani .... wardrobe
Gabriella Pescucci .... assistant costume designer
Sara Santarelli .... wardrobe
 
Editorial Department
Loredana Cruciani .... assistant editor
Mario D'Ambrosio .... assistant editor
Lea Mazzocchi .... assistant editor
 
Music Department
Franco Mannino .... conductor: National Academy Orchestra of Santa Cecilia
Orchestra dell'Accademia Nazionale di Santa Cecilia .... orchestra (as National Academy Orchestra of Santa Cecilia)
Roger Webb .... lyrics
 
Other crew
Rometta Pietrostefani .... script supervisor
 
Crew believed to be complete


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Additional Details

Also Known As:
"Morte a Venezia" - Italy (original title)
See more »
Runtime:
130 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Finland:S | France:Unrated | Ireland:15 | Netherlands:14 (original rating) | Peru:14 | Portugal:M/18 (original rating) (censored) | Portugal:M/12 (re-rating) | Singapore:PG | Spain:13 | Sweden:11 | UK:AA (original rating) | UK:12 (video re-rating) (2004) | UK:12A (re-rating) (2002) | UK:15 (video rating) (1988) | USA:PG | USA:GP (original rating) | West Germany:12 (f)

Did You Know?

Trivia:
Burt Lancaster eagerly sought the role played by Dirk Bogarde.See more »
Goofs:
Anachronisms: TV aerials clearly visible on Venetian rooftops in one scene.See more »
Quotes:
Gustav von Aschenbach:You know sometimes I think that artists are rather like hunters aiming in the dark. They don't know what their target is, and they don't know if they've hit it. But you can't expect life to illuminate the target and steady your aim. The creation of beauty and purity is a spiritual act.
Alfred:Non Gustav, no. Beauty belongs to the senses. Only to the senses.
See more »
Movie Connections:
Soundtrack:
Sehr Langsam Misterioso From Symphony No.3See more »

FAQ

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60 out of 77 people found the following review useful.
A haunting piece of cinema, a true emotional experience, a masterpiece, 12 July 2004
Author: auberus from Lomé

Luchino Visconti's 'Death in Venice' is one of the most misunderstood masterpieces of cinema. Based on Thomas Mann's 1913 classic novella of the same name, the film not only capture the quintessential of the novel but also reinforce a powerful questioning through superb visuals. Adapted by Mr. Visconti himself who decided to focus on the Venice chapter only as well as to modify the occupation of the main protagonist, Gustav von Aschenbach who becomes a music composer (highly inspired by the composer Mahler), the film was also inspired by other Thomas Mann's novel like 'Doctor Faustus' or by Marcel Proust's writing. Often reduced and presented as a decadent film in which homosexuality and pedophilia are the main themes, the novel like the movie deals in fact with a much more complex and powerful dynamic.

Indeed the film is based on an equation between Death and Beauty as an aphorism for Perfection and in which the results is Time (or the lack of it). Perfection, Beauty is a chimer, pursuing it is pursuing Death as Time is passing by. At first von Aschenbach does not understand why the perfection of the form in his musical composition does not lead to the perfection of his symphony and therefore lose himself in a quest for Beauty following the young Tadzio as not only a symbol for this ultimate Beauty / Perfection but also as the Mask of Death. In this Venice, marked by Death and cursed by the plague, the Time is running out and the fascinating quest for Perfection finally appears to be a dangerous game to play.

All the notions that build up to the main questioning are revealed during this quest for Perfection and this race against Death. The notion of Urgency reinforced by an avoidable sorrow as Von Aschenbach realizes he is getting old in the hair dresser scene. The notion of isolation right from the beginning emphases by the personality of Aschenbach himself and showed by Visconti as someone cold and rigid and therefore alone. The notion of Desire which leads to the understanding of the main questioning: for Aschenbach, Perfection is reached through hard work it is a consequence not a fact. The Young Tadzio blows away this certitude. Does von Aschenbach desire Tadzio or is he fascinated by what he represents: Perfect Beauty?

The challenge of Luchino Visconti was to apply a superb cinematography and a precise narrative method to a film that in nature deals with complex concepts. By succeeding in this task Mr. Visconti delivers a haunting piece of cinema, a true emotional experience, a masterpiece.

Was the above review useful to you?
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Message Boards

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Should be watched once with the subtitles on.. korn_mythe
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