Morte a venezia di luchino visconti filmografia

film by Luchino Visconti

Death in Venice (Italian: Morte a Venezia) is a historical drama film directed and produced by Italian filmmaker Luchino Visconti, and adapted by Visconti and Nicola Badalucco from the novella of the same label by German author Thomas Mann.

It stars Dirk Bogarde as Gustav von Aschenbach and Björn Andrésen as Tadzio, with supporting roles played by Mark Burns, Marisa Berenson, and Silvana Mangano, and was filmed in Technicolor by Pasqualino De Santis.

Nei suoi 33 anni di carriera come regista ha diretto Il gattopardoRocco e i suoi fratelli e Morte a Venezia. Serie TV. Il tuo profilo. Parte del gruppo e.

The soundtrack consists of selections from Gustav Mahler's third and fifth symphonies, but characters in the production also perform pieces by Franz Lehár, Ludwig van Beethoven, and Modest Mussorgsky. Preceded by The Damned () and followed by Ludwig (), the film is the second part of Visconti's thematic "German Trilogy".

The movie premiered in London on 1 March , and was entered into the 24th Cannes Movie Festival. It received positive reviews from critics and won several accolades, including, at the 25th British Academy Film Awards, the awards for Best Cinematography, Finest Production Design, Best Costume Plan, and Best Sound, in addition to nominations for Best Motion picture, Best Direction, and Best Thespian in a Leading Role for Dirk Bogarde.

For his serve on the film, Visconti won the David di Donatello Award for Best Director.

Regia di Luchino Visconti. Cast completo Genere Drammatico - Italia, durata minuti. Rivisitazione in chiave viscontiana del famoso racconto di Thomas Mann. Siamo agli inizi del secolo.

Retrospectively, Death in Venice was ranked the th greatest movie of all time in the Sight & Sound critics' poll,^[4] the 14th greatest arthouse movie of all time by The Guardian in ,^[5] and the 27th greatest LGBT film of all time in a poll by the British Film Institute.^[6]

Plot

Composer Gustav von Aschenbach travels to Venice for rest, due to serious health concerns.

During his ship's arrival, an importunate and conspicuously made-up older man approaches Aschenbach with suggestive gestures and phrases, whereupon Aschenbach turns away indignantly. Aschenbach takes quarters in the beachside Grand Hotel des Bains on the Venice Lido.

While awaiting dinner in the hotel's lobby, he notices a group of young Poles with their governess and mother, and becomes spellbound by the handsome boy Tadzio, whose casual dress and demeanor distinguishes him from his modest sisters.

Tadzio's image causes Aschenbach to recall an increasingly emotional and heated conversation with his friend and learner Alfred, in which they doubt whether beauty is created artistically or naturally, and if beauty, as a natural phenomenon, is superior to art.

In the following days, Aschenbach observes Tadzio playing and bathing. When he manages to get close to the boy in the hotel's elevator, Tadzio seems to hurl a lascivious look at Aschenbach while exiting the lift. Returning to his room in an agitated state, Aschenbach remembers a particularly personal argument with Alfred, and he hesitantly decides to leave Venice.

However, when his luggage is misplaced at the train station, he is relieved and delighted at the prospect of returning to the hotel in order to be close Tadzio again. Before his give back, he sees an emaciated male collapse in the station concourse, and, when he attempts to investigate this, the flattering hotel manager speaks in a contemptuous matter of exaggerated scandals in the foreign press.

Aschenbach adopts Tadzio as an artistic muse, but fails to master his passion for him and frequently loses himself in daydreams of the unattainable boy. When a travel agent on Saint Mark's Square hesitantly reports to Aschenbach that a cholera epidemic is sweeping through Venice, Aschenbach's attention falters and he fantasizes about warning Tadzio's mother of the danger while stroking her son's head.

Though Aschenbach and Tadzio never converse, Tadzio notices he is being watched and responds with an occasional returned glance. Aschenbach follows Tadzio and his family to St Mark's Basilica, where he observes him praying. He gets a makeover from a chatty hairdresser, giving him a resemblance to the vintage man who had pestered him upon his arrival, and pursues Tadzio's family again, until he collapses near a well and bursts into a pained laughter.

Death in Venice (Italian: Morte a Venezia) is a historical drama film directed and produced by Italian filmmaker Luchino Visconti, and adapted by Visconti and Nicola Badalucco from the novella of the same name by German author Thomas Mann.

Support in his hotel room, Aschenbach dreams of a disastrous act in Munich and Alfred's accusations afterward.

When Aschenbach learns that Tadzio's family will be vanishing the hotel, he weakly makes his way to the nearly-deserted beach, where he watches with concern as Tadzio's game with an older boy degenerates into a wrestling match.

Upon recovering, Tadzio strolls away and wades into the sea to the enraptured tones of Mahler's Adagietto. He slowly turns and looks toward the dying Aschenbach, then raises his arm and points off into the distance. Aschenbach tries to rise, but collapses in his deck chair, gone.

Cast

Adaptation

In Mann's novella, the traits of Aschenbach is an writer, but, for the film, Visconti made him a composer. This allows the musical score, in particular the Adagietto from Gustav Mahler's Fifth Symphony (which opens and closes the film) and sections from Mahler's Third Symphony, to represent Aschenbach's work.

Apart from this change, and the addition of the scenes in which Aschenbach and a composer friend debate the degraded aesthetics of his music, the movie is relatively faithful to the book.

Production

In the second volume of his autobiography, Snakes and Ladders, Dirk Bogarde recounts how the film crew created his character's deathly white skin for the final scenes of the film, just as he dies.

I gusti di B. Fenomenale la prestazione di Dirk Bogarde, splendido von Aschenbach, che giunge a tingersi i capelli. Un po' caricaturale Romolo Valli. L'incedere lento e costante del tempo e dell'ossessione costituisce il vero fascino di questo misterioso film.

The makeup department tried various face paints and creams, but none were satisfactory, as they smeared. When a suitable cream was finally found and the scenes were shot, Bogarde recalls that his face began to burn terribly.

The tube of cream was located, and, written on the side, was: "Keep away from eyes and skin". The director had ignored this warning and had various members of the film crew try it out on small patches of their skin, before finally having it applied to Bogarde's face.

In another volume of his memoirs, An Orderly Man, Bogarde relates that, after the finished film was screened for them by Visconti in Los Angeles, the Warner Bros. executives wanted to write off the project, fearing it would be banned in the United States for obscenity because of its subject matter.

They eventually relented when a gala premiere was organized in London, with Elizabeth II and Princess Anne attending, to gather funds for the sinking Italian city of Venice.

Björn Andrésen

In , Björn Andrésen gave an interview to The Guardian in which he expressed his dislike of the fame Death in Venice brought him and discussed how he sought to distance himself from the objectifying image he acquired by playing Tadzio.^[7] He stated that he disapproved of the film's subject matter, as "Adult cherish for adolescents is something that I am against in concept.

Nei suoi 33 anni di carriera come regista ha diretto Il gattopardo, Rocco e i suoi fratelli e Morte a Venezia.

Emotionally perhaps, and intellectually, I am disturbed by it – because I have some insight into what this compassionate of love is about", and also recounted attending the film's premiere at the Cannes Production Festival: "I was just 16 and Visconti and the team took me to a same-sex attracted nightclub.

Almost all the crew were gay. The waiters at the club made me experience very uncomfortable. They looked at me uncompromisingly as if I was a nice meaty dishit was the first of many such encounters".

In , Juno Films released The Most Charming Boy in the World.^[8] It premiered at the Sundance Clip Festival on January 29, ^[9]

Critical reception

On the review aggregator website Rotten Tomatoes, Death in Venice has a 71% approval rating based on 28 reviews, with an average score of out of 10; the site's "critics consensus" reads: "Luchino Visconti's Death in Venice is one of his emptier meditations on beauty, but fans of the director will find his knack for sumptuous visuals remains intact".^[10]

Derek Malcolm, in a review of the film for The Guardian wrote: "It is a very lazy, precise, and beautiful film, an immensely formidable achievement, engrossing in spite of any doubts".^[11]

Roger Ebert wrote: "I think the thing that disappoints me most about Luchino Visconti's Death in Venice is its lack of ambiguity.

Visconti has chosen to leave the subtleties of the Thomas Mann novel and present us with a straightforward story of homosexual love, and although that's his privilege, I think he has missed the greatness of Mann's work somewhere along the way".^[12]

Film historian Lawrence J.

Quirk wrote in his study The Great Romantic Films (): "Some shots of Björn Andrésen, the Tadzio of the film, could be extracted from the frame and hung on the walls of the Louvre or the Vatican in Rome". He stated that Tadzio does not stand for just a pretty youngster as an object of perverted lust, but that novelist Mann and director-screenwriter Visconti intended him as a symbol of beauty in the realm of Michelangelo's David or Leonardo da Vinci's Mona Lisa, the beauty that moved Dante to "seek ultimate aesthetic catharsis in the distant figure of Beatrice".

In a review of the film for The Guardian, Peter Bradshaw hailed Dirk Bogarde's performance as one of the greatest of all time, concluding: "This is exalted film-making".^[14]

Writer Will Aitken published Death in Venice: A Queer Film Classic, a critical analysis of the production, in as part of Arsenal Pulp Press's Queer Film Classics series.^[15]

On September 1, , the film was screened at the 75th Venice International Film Festival in the Venice Classics section.^[16]The Criterion Collection released a remastered edition of the film on Blu-Ray and DVD on February 19, ^[17]

Awards and honors

In widespread culture

• Parodied by The Goodies as Death in Bognor^[19]
• Parodied in Ken Russell's film Mahler – At about five minutes into the film, as the Adagietto from Mahler's Fifth Symphony plays, the character of Mahler looks out of his railway carriage and sees a boy in a sailor uniform ('Tadzio') dreamily wandering around the platform while a man dressed in white ('Aschenbach') sits coyly on a bench, watching the boy.

  Russell apparently disliked Visconti's film.^[20]

Notes

References

Further reading

External links