Der Tod in Venedig

"Slow", "slow", "slow"... I read many people complain "it's slow"... slow what? This movie takes its time. All the most beautiful things in life take time. When you make sex with your girlfriend would you try to make it last five minutes? No you would like to make it last the whole night. When you eat good food in a good restaurant would you like to finish it in two minutes? No, you sit down, enjoy the place, the food, the company and the wine. When you visit an art museum, would you rush through the rooms? No, you would move slowly, pay attention, and stop at the artworks that mean more to you. So why should a movie be different?

If you want speed, then eat at McDonald's, rush in the tube, watch TV commercials, and pay a prostitute for a 5 minute work.

If you are looking for real emotions, deep feelings and thoughts that will last in your memory and heart for a long time, then you don't want to miss this movie.

One caveat: don't go watching it for the gay theme. This movie isn't about gay love, if you look at it through this point of view, it will let you down completely. This movie is symbolism from beginning to end, it does not speak of what you see. It speaks of the struggle of the artist to reach the beauty, so close, always unreachable, and, like another reader perfectly commented, so inevitably connected with death, because the only perfection that a living being can ever attain, is in the death. If you look at the movie from this point of view, it will show to you for what it is: a complete masterpiece, from beginning to end.

I first saw "Death in Venice" when it was initially released in 1971. Today, I saw it again (by chance!) while I was channel-surfing. It had the same hypnotic effect on me that it had then. To wit: I sat down, vacuum cleaner in hand, and remained there. In 1971, at age 21, I recognized the film's poignancy but not in the way I was able to now, at age 56. Yes, it's slow-moving and not very much "happens". But its beauty, especially the wonderful close-ups and the use of Mahler's music, endures. Those familiar with Thomas Mann's novella of the same name,and other of his works (e.g., The Magic Mountain) will recall that nothing much "happens" in these stories, either. However, these classics (both in print and film) are apt to remain with us long after the latest special effects action film has disappeared.

Set in Venice mainly on the Lido, Visconti's "Death in Venice" is a triumph of filmmaking combining the excellence of Dirk Bogarde's characterisation and expert photography of the resort area in all its various daily moods. For those who love Venice, this is a film to cherish.

Mahler's music frequently heard throughout the film heightens the drama. The mood it creates is not always happy. But then what else would you expect with a title like that?

There is not a lot of dialogue in the film. Rather sparse in fact. It's mainly background noises and chatter and laughter among the hotel guests. The intriguing part is to interpret the exchange of glances between Gustav von Aschenbach a composer of some renown and a slim teenage youth Tadzio who see each other from time to time across the tables of the hotel dining room, on the beach and at odd unexpected places around Venice. They seem to acknowledge each other's presence shyly at first with little more than the suggestion of a smile but later with a strong and riveting and urgent gaze.

Each viewer will have his own interpretation. The composer has lost a child of his own. Is this behaviour an expression of yearning for the child he loved? Is it perhaps a sexual attraction towards this fragile young man with his dazed somewhat girlish stare? Could he be discovering some new inspiration for a yet unwritten musical masterpiece? Who knows?

From beginning to end this film captures the true spirit of 19th Century Venice. The elegance of the ladies, the deck chairs on the sand, the children frolicking in their neck-to-knee bathing costumes, the glow of sunsets and a general feeling of satisfaction with the world. While some may think the pace is rather slow at times, the film has an overall gentle quality, but with a simmering indecision between two repressed human beings. Be prepared for a sad and beautiful ending.

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.

I'm not sure where to start with this. In short, it was a disappointing movie. Having taught the novella, I was aware that it would be a hard story to turn into a movie. The movie has a couple of interesting lines (mainly between Alfred and Aschenbach) but it doesn't represent the debate on art that basically shapes the novella.

For one, I was expecting an older Aschenbach and a younger Tadzio. In the book, Tadzio is fourteen, but he is described as pure, ideal, innocent, whereas in the movie he reeks of sexuality and is a tease. He is an accomplice to Aschenbach, he always looks back at him, almost provokingly. In the book, it is Aschenbach who steals glances at the boy. As for Aschenbach, I imagined something closer to the professor-turned-clown in The Blue Angel (based on a story by Thomas Mann's brother Heinrich) than this forty-year old with hardly any gray hair. In all fairness, I do think that Dirk Bogarde did a good job, but either someone else should have done that, or he should have made to look older at the beginning.

I know that the discovery of homosexuality is important to the story, but the movie minimizes the talk about art and the duality between the Apollonian and Dyonisian inspirations and focuses instead on Aschenbach's obsession of Tadzio and does not justify it. I liked the fact that Mahler's music was used, because ultimately he did inspire Mann to write his story. I'm not sure turning Aschenbach into a musician was a particularly good move. Or the creation of Alfred who I don't remember in the book.

And one thing that really got to me was the sound and how it did not match the actors' lips. I was wondering if it was dubbed because I expected it to be in Italian. But then I remembered that each Italian movie I have watched has this problem. It just bothers me because these directors (Fellini is the other person I'm thinking of) are supposed to epitomize perfection in Italian cinema, and here are their characters laughing without sound, then you hear a noise that doesn't correspond to their faces (I'm thinking of the scenes when Aschenbach almost collapses and starts laughing. This scene could/should have been the strongest, but it was annoying instead).