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Strawberry Postcards in Luchino Visconti’s Death in Venice (1971) December 6, 2008

Posted by Richard Bolisay in European Films, Literature, Queer.
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death-in-venice

Italian Title: Morte a Venezia
Directed by Luchino Visconti
Cast: Dirk Bogarde, Björn Andrésen, Silvana Mangano
Based on Thomas Mann’s book

I give it to Visconti, Death in Venice is breathtakingly beautiful. For I haven’t read Thomas Mann’s novella I am less obliged to succumb to usual comparisons, seeing it in its bare elegance, the nuances of Mann’s observations impulsively translated into epic equivalence by Visconti’s recreation of the period through lavish art designs and costumes.  The beauty it has imparted is similar to Gustav von Aschenbach’s obsession to the chastity of art, it is almost visually perfect, for Visconti’s scrupulousness is felt in every calculated movement, in his trademark zooms, in the overarched vision that seems to mimic the sweep of omniscient observation, without a speck of sloppiness, it is a dream that has successfully traversed the conscious mind, life itself, breathing, talking, loving, paining, dying, which in fitting irony mirrors its subject’s gloomy death, worms of unresolved thoughts never leaving him in peace, eating his soul. Is love just a form of obsession or obsession a form of love? Is love, in all its undeniable shortcomings, only a preoccupation of wishful thoughts that are close to impossible? Everything begins with attraction and obsession only ends with death, which in this case is both literal and figurative. The wordless sequences are insanely provocative and maddeningly obsequious, not to mention the fact that the obsessed and the subject of obsession have never once spoken to each other, only meaningful glances and meetings of the eye. It must be the selfless form of love – – obsession – – but it is also the most effective way to self-destruct.

(When you get used to the idea of watching films as education, however, there comes a point when you go beyond appreciating a work only through aesthetics. Despite my penchant for films that meditate on the virtue and decay of life and death, Death in Venice still leaves me underwhelmed and lacking in its unrelenting highbrowism, and I reckon that is when personal taste comes along. . . no one’s fault, really – – just human irrationality.)

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Comments»

1. lunabertigo - December 8, 2008

i read the novella and other thomas mann works in that compilation. i like the literary text better (and was even scared not to give justice reporting it in front of tiongson). ewan. pero mas ramdam ko ang lamig ng kamatayan sa libro.

2. Richard Bolisay - December 8, 2008

oh, you have a copy? arguments like these, about how an adaptation turns out compared to the original, is what makes film viewing really exciting, the overlapping ideas and varying interpretations between the text that binds them. too bad i wasn’t in that tiongson class.

3. me - December 8, 2008

If you were in that Tiongson class you would have failed because you don’t know how to use periods. harharhar

4. ayn - December 9, 2008

Frances! I’m still waiting for the Tiongson readings you said I could borrow. camownst, haha.

5. asian pee movies - July 18, 2009

well.. it’s like I thought!


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