Director: Luchino Visconti;

?Death in Venice? is adapted from a novel of the same name by Thomas Mann. The mood of this film is set immediately the opening credits roll, with the use of rather maudlin music by Gustav Mahler to set the tone of this downbeat and depressing film with a strong adult flavour. However, while the mood of ?Death in Venice? is downbeat, it certainly is a worthwhile film to watch; with a typically top notch performance by one of my favourite actors - Dirk Bogarde - and a fine supporting cast including Bjorn Andresen in his film debut. It is, in general, a rather slow moving piece that requires quite a degree of concentration; but the experience will not disappoint.

A middle-aged German composer (unlike the author?s writer), Gustav von Auschenbach (Bogarde) arrives at an opulent Venetian hotel in 1911 for rest after apparently suffering from some form of nervous exhaustion or breakdown. While in Venice he falls under the spell of a ?beautiful? young boy (Andresen). His obsession with the boy proves to be his eventual downfall; succumbing to an illness he could have avoided (NO, not that one!) had his mind been more on the job of his own wellbeing. It is not immediately determinable whether his affection for this boy was his only ?foray? from the mainstream, but flashbacks seem to uncover a repressed individual who at one stage appeared to be happy, loving father and husband of an ex prostitute who loses his daughter to illness. I can safely suggest that the ?affair? is not consummated, but it is clear that the boy is well aware of his effect on Gustav, and does not appear to disapprove. Towards the very end we are faced with another ?teaser? - is Gustav sexually in lust with the boy, or does he admire his beauty in fear/envy because of his approaching old age? Though some of the dialogue raises this question, I believe that the former is closer to the truth.

The film (at 125 minutes) is probably a little overlong and verbose, and can become confusing with the occasional flashbacks muddying one?s sense of the present-day. It is also rather intellectually challenging with much of the flashbacks involving quite academic discussions about the philosophy of musical inspiration. Nevertheless, the movie is impressively filmed - might I say beautifully?

There is music other than Mahler?s in this movie, and this folk-inspired music about 90 minutes into the film is poignant in that it underscores the repression by Venetian authorities of the an impending plague - named Asiatic cholera - descending on their city. No one is willing to tell the truth about the disease that would threaten Venice?s tourism industry, though Gustav finally ?weasels? it out of a bank clerk eventually. Unfortunately he does not heed his own advice and succumbs to it - hence part of the reason for the film?s title.

The film assaults the senses on a number of planes - the gorgeous music (notwithstanding my comments later), the beautiful photography, the power of Bogarde?s performance; and the melding of these facets into a film with considerable depth, despite the limited plot. I felt tremendous empathy with Bogarde?s character. His death - with hair dye running down his face is particularly pathetic and tragic.

It is filmed and produced in the typically European style of the late 1960s/early 1970s. As a result, I would have to classify the film as ?arthouse?. This is clearly not a movie that could have been produced through the Hollywood system - the semi-long pans across sets, similar (almost silent) shots of non-participants in the storyline, and longish periods without dialogue combine to create this ?arty? effect.

THE EXTRAS

There are three ?special? features, in addition to language and subtitle menus:

? Visconti?s Venice - a 9-minute feature in 4:3 fullscreen about Luchino Visconti and his work on ?Death in Venice?, concentrating on a 2-minute segment of the film that will take all day to succeed. Quite entertaining.

? A Tour of Venice - a selection of 29 mainly B/W photos ?on location? of the production - it is best to viewed in widescreen format and has to be operated manually. I would have preferred a tour of Venice.

? Theatrical Trailer - 3 ? minutes

CONCLUSION

?Death in Venice? is a film that will not suit all tastes - the ?controversial? subject matter and its slow pace are two features that come immediately to mind.

The redeeming features are its (largely) glorious soundtrack, beautiful staging and photography, Bogarde?s empathetic performance, and the sensitive handling of the ?controversial? subject matter.

It is not one for the kids, nor for anyone seeking a film to lift one?s spirits; but it is an excellent example of the craft of European filmmakers of the time.