Movie Of The Week - Death In Venice (1971)

The Age

Thursday February 23, 2006

Scott Murray

FILM REVIEW: DEATH IN VENICE (1971) SBS, Thursday, 11.55pm

THOMAS MANN'S novella Death in Venice is an undisputed masterpiece of German literature and many great directors had dreamt of filming it before Luchino Visconti seized the day with Dirk Bogarde in the lead. The novella concerns the last days of an ageing intellectual, Gustav von Aschenbach, who, on a trip to Venice, becomes obsessed with the beauty of a teenage boy, Tadzio. Aschenbach is largely based on the composer Gustav Mahler, and Tadzio on an 11-year-old Polish youth Mann had seen in Venice in 1911. Though there is no sexual component in Aschenbach's adoration of Tadzio, when Visconti sought financing from Warner Brothers, the American studio insisted the boy be changed to a girl. Visconti won in the end and memorably cast Bjorn Andresen. Though Bogarde later called Visconti "the Emperor", during filming he was peeved that at crucial moments Visconti filmed his back, rather than his face. He did not understand that sometimes the only way to get inside the interior monologue of Aschenbach's mind is to follow his actions, peering over his shoulder so that the audience's perspective can mirror his. It was a brave decision by Visconti and one reason the film is so tender and effective, Aschenbach's demise so inexpressibly moving. Visually sumptuous, the opening images are enough to change how one looks at and thinks about Venice forever. The merging of image with Mahler's music is always sublime; the cast give the performances of their careers; and Piero Tosi's costumes are among the most exquisite in cinema, especially those worn by Silvana Mangano. There are a few awkward flashbacks and some false-noted dialogue on the meaning of art, and the pace may be too measured for some. But few will reach the end of this beautiful film and not consider it great.

© 2006 The Age

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