Death in Venice
It is a fairly mediocre afternoon, when after spending the day writing computer codes for fun, I watch "Death in Venice" (Morte a Venezia, 1971) by Visconti. It is a modestly known fact that I am not very knowledgeable or more interested in Italian cinema, although I enjoyed this film, and also "Profession: Journalist" and amazingly one of my special favourites is The Night Porter (Il Portiere di notte, by Liliana Cavani, 1974) which is the one that first drew my attention to late Dirk Bogarde. The peculiarity of the "The Death in Venice" to me, so I wondered, if was from my lack of knowledge of Italian cinema, or the films of that region, date or it was actually peculiar for the aware of its context. Is it about sex or futile struggle of a dying miserable artist?
As it, slowly, turns out Gustav, the eponymously named character of Bogarde, the wandering musician in Venice, falls in love with a handsome young man, for the beauty he bears, I see the story has the ability to attract me. The soundtrack is actually symphonies 5 and 9 by Gustav Mahler. We hear or see little about Gustav's character. Quick insights are given about his heart condition or his family. His discussion with his friend Alfred seemed confused with fear and shame, state in which Alfred claims to locate him. Their nervous dialogue on aesthetic and artisanship quickly looks naive to me. It is always tricky to talk on art and beauty, not because it is so, because people are not intelligent enough to handle it. The immature relativistic view poorly accuses perfectionism Gustav seeks even in his seaside resort, nonetheless I always flippantly accuse relativist of his ignorance of what absolutist is actually saying. Their talk dimly reminds me to think about aesthetic as it was in 80's, from late Richard Wollheim, George Dickie or Noel Carrol.
Wonder; throughout the running of the film I was puzzled up in what he was looking for in the noble adolescent boy. Epitome of beauty? The long running shots of Visconti and the beautiful colouring and costumes step aside for a sensitive mind to wander and consider. Chastity appeals to me in "Death in Venice." I should definitely write an article on this film.
***
I am turned on vividly. What better reason to listen to Barbirolli conducting Mahler's Symphony No 5? None. Simplicity of tastes..dignity..yes it is magnificent. Admit.
■
As it, slowly, turns out Gustav, the eponymously named character of Bogarde, the wandering musician in Venice, falls in love with a handsome young man, for the beauty he bears, I see the story has the ability to attract me. The soundtrack is actually symphonies 5 and 9 by Gustav Mahler. We hear or see little about Gustav's character. Quick insights are given about his heart condition or his family. His discussion with his friend Alfred seemed confused with fear and shame, state in which Alfred claims to locate him. Their nervous dialogue on aesthetic and artisanship quickly looks naive to me. It is always tricky to talk on art and beauty, not because it is so, because people are not intelligent enough to handle it. The immature relativistic view poorly accuses perfectionism Gustav seeks even in his seaside resort, nonetheless I always flippantly accuse relativist of his ignorance of what absolutist is actually saying. Their talk dimly reminds me to think about aesthetic as it was in 80's, from late Richard Wollheim, George Dickie or Noel Carrol.
Wonder; throughout the running of the film I was puzzled up in what he was looking for in the noble adolescent boy. Epitome of beauty? The long running shots of Visconti and the beautiful colouring and costumes step aside for a sensitive mind to wander and consider. Chastity appeals to me in "Death in Venice." I should definitely write an article on this film.
***
I am turned on vividly. What better reason to listen to Barbirolli conducting Mahler's Symphony No 5? None. Simplicity of tastes..dignity..yes it is magnificent. Admit.
