aquauver The relationship between them is so gross.The middle aged man shadows a beautiful guy anytime without talking.The main character is involved in this guy since first contact.How Old men follow guy's family is so gross.I want to escape sometimes.Anyway,scenes in this city is so good. It is the reason I finished watching this until the end.

atlasmb I don't usually write reviews with spoilers, but it is nearly impossible to discuss this film without revealing some of its major plot points, especially since there are so few of them."Death in Venice" is based upon a Thomas Mann novel. It is said Mann was inspired when he heard of Gustav Mahler's death. Mann was gay and Mahler was presumed by many to be gay, despite his marriage and offspring. So, Mann created the story about Gustav Aschenbach, borrowing elements from Mahler's life and his own.Aschenbach is, like Mahler, a creator--specifically a writer. While in Venice, he is consumed by two things: his concern about his own health and his fascination with a fourteen-year-old boy. His focus on the boy becomes an obsession and that obsession takes up ninety percent of the film.Director Visconti--also a gay man--decided to make Aschenbach a composer. He also used some Mahler symphonies as background music.The other ten percent of the film are mundane happenings and Aschenbach's internal dialogue, with flashbacks that include philosophical discussions about art. (Does art arise from the intellect or the senses?) But these are minor, undeveloped diversions from the film's main themes. The cinematography is sometimes evocative of the works of William Turner or, more often, of Renoir. But the camera work often undermines the images, especially when Visconti repeatedly uses zoom to beat the viewer over the head with the obvious. The pace of the film is leisurely. That can be explained, in part, by the fact that the film takes place in the world of the leisure class. Aschenbach is living among those who are restrained and mannered. Starched collars and stiff behavior are the norm. But the languorous tempo only serves to accentuate the fact that this is a film in which very little actually happens. In the end, this film is not very entertaining. And its main themes have been explored much more effectively in other films.

Kirpianuscus A mixture of Mann, Mahler and Visconti. seductive, cruel, delicate, gray, reflection of a special state of soil, bitter. one of films who transforms in flavor images. because its seduction's source is the science to impose a story using the image and the music as basic tools. a film of questions, taboos and illustration of its director themes. the cast, the love 's portraits, the need of artist to escape from yourself and to build the masterpiece are , one by one, keys for a fascinating fresco of death, desire, solitude and prison in the illusions. a film who must see. not for precise purpose. only as a landscape discovered from a window who is the best refuge for fears, anxiety and self definition. Dirk Bogarde does a splendid role. the fascination of director for his ladies transforms Death in Venice in a kind of iceberg. a film who could be an experience.

ma-cortes This is an adaptation of the Thomas Mann novel , avant-garde composer Gustave Aschenbach (Dick Bogarde) , loosely based on Gustav Mahler character , being well portrayed in this brooding as well as slow-moving classic movie . The celebrated story of a man obsessed with ideal beauty written by prestigious Thomas Mann is magnificently brought to the screen , concerning about desire , homosexuality , children lost , plagues and adult situations throughout .Thought-provoking character studio of a reputed artist , his mishaps , digresses , loves his homosexuality and continuous search for beauty and perfection . this is the second part of Luchino Visconti's German Trilogy also including The damned (1969) and Ludwig (1972). It deals with Gustav Mahler lookalike whom Dick Bogarde is made up to resemblance . However , the film results to be overlong , it seems longer than its 130 minutes running time . Colorful as well as visually absorbing cinematography in Panavision by Pascualino de Santis . Impressive and immortal musical score by Mahler , in fact his Third and Fifth Symphonies were adapted as background music for the film ; being excellently conducted by orchestra director Fanco Mannino.This studied as well as slow motion picture was masterfully directed by Luchino Visconti . Visconti was a director and writer, considered to be one of the best Italian filmmakers . At the beginning his career he developed the movement of "Italian neo-realism" together with other directors such as Vittorio De Sica or Roberto Rossellini in the 1940s and 1950s such as ¨Bellissima¨ (1952) , ¨La Terra Trema¨(1948) , and ¨Ossessione¨ (1943) was based on James M. Cain's 'The Postman Always Rings Twice' . Luchino is especially known for Rocco and brothers (1960), "Il Gattopardo" or "The Leopard" (1963) , ¨The damned¨ (1969) , ¨Ludwig¨(1972) , "The Innocent" (1976) and , of course , this Death in Venice (1971). His sense of visual style was equally impressive in his film work, never better demonstrated than through his masterpiece Senso (1954).