O Garoto Mais Bonito do Mundo

Did anyone else feel really uncomfortable with the way the filmmakers handled Bjorn reading the details surrounding his mother's death?

It's clearly a very traumatic experience for him, and quite right too, but the film makers refuse to cut away, keeping the camera rolling as it edges closer and closer to Bjorn's face.

Now maybe Bjorn requested that they don't shy away from capturing that moment, but it just didn't sit well with me. Particularly from a film whose key angle is the exploration of Bjorn's potential exploitation as a child. Can you really cry "exploitation" whilst being exploitative?

There isn't that much written about Bjorn Andresen and not many interviews that I've read but I formed the impression that after making Death in Venice ( a film I love and have watched many times) he became what they call these days "entitled" and assumed because he'd been lucky enough to land the role of Tadzio (which didn't call for much in the way of acting ability,) the rest of his career should have been one long success. This didn't happen though he has had a number of acting roles during his adult life, details of which were hardly mentioned. I got the impression this change to semi obscurity left him resentful. I've met him several times and this impression was borne out. This unflattering aspect of his character was never explored, in case sympathy was lost I suppose. Although for some reason the row with his much younger girlfriend on the phone did give a glimpse of it!

The film was also very unbalanced, a few seconds view only of the famous film and Venice itself, nothing at all of the beautiful Hotel des Bains where it was set and far far too much time spent on his time in Japan. Very little said about his marriage, which ended after (I originally understood) to be the "cot death" of his younger child but in fact according to him, occurred because he passed out on the child while sharing a bed with him through intoxication. There seemed a distance between himself and his grown up daughter too though they were friendly. In fact I wonder whether this emotional detachment is a feature of the Swedish character and a reason why they seem to find relationships difficult to maintain. So I remain unconvinced that the Death in Venice experience as it were paved the way to a later unsatisfactory life, via exploitation etc. It played its part by raising expectations, but any unsatisfactoriness in later life must be mainly attributed to the kind of person Bjorn is.

I was interested to see he has a sister, something I've never till now heard mentioned, and that his mother was much more present in their younger lives than I'd realised. Yes, an intrinsically flawed personality albeit of an intelligent and not untalented man. I don't think we can blame Death in Venice for that.

This documentary points to a particular case of this boy, who's grandmother tried to get her grandson to make into the film industry. Like many parents were hoping their sons got Tadzio's part, Björn was the one who got it. But unlike many young stars we know, he had problems copping with the attention for being shy and also having family problems didn't particularly helped him. In no way I see him been exploited. He just needed more feedback maybe.

Very interesting documentary about a human being sacrificed on the altar of the Seventh Art ;in 1972 , Visconti was at the peak of his genius and he had flair for discovering actors (Helmut Berger ,one of his lovers ,was prodigious in "la cadeti dei degli" and "Ludwig".)

So he spent some time to find the beautiful boy who would fascinate Dirk Bogarde in the fascinating "death in Venice" ;but,unlike Berger, Bjorn was still a child , traumatized by his mom's death when he was too young; although the director insisted the boy was his protégé and his love remained platonic, he did not seem to realize the young actor was overtaken by events : the newsreel at the movie première is revealing :the boy seems to live in a dream , or rather a sweet nightmare :he seems ill-at-ease among these stars (you can spot Romy Schneider on one photograph) and he never was to get over this "too much too soon" celebrity .

The doc blends the past ( the boy photographed from every angle ,even shirtless, pictures of Venice and of the places where the movie took place) and the present : Bjorn has become a long-haired bearded gaunt man (born 1955) ,old before his time ; the first scene in his apartment shows a guy who does not take care of himself ; his half-sister was perhaps his only helping hand when he was a kid, now she's replaced by his daughter even though his marriage was a failure ; now the man wanders aimlessly on the beach, watching the sea;he has returned to Venice ,but although he has become (reluctantly) a gay icon, his life was forever destroyed in a luxury hotel where Silvana Mangano was only a celluloid mother.

Our sympathies follow this spectral Gothic figure as the familiar tale of instant fame followed by disillusionment is played out.

Not an actor (his acting in DIV minimal and awkward) and defined by his looks, I wish he had followed full time his talent for music. Watching him listening to his own playing of Chopin was revealing. But the musical part of his life is left out of this film and therein lies the imbalance.

Obviously a depressive which may have been inherited from his mother, would his life have been much different without DIV? Impossible to live with and self pitying.

I'm not sure why his grandmother comes in for such blame here. Using opportunities as they arise is not blameworthy. She surely would have wanted him to have a happy life, she brought the two children up and his sister seems to be well adjusted,