a film to divide its viewers. just criticism points at its funereal pace and over used snap zooms and persistent and lingering gazes between the protagonists. advocates point to dirk bogarde mighty performance and pasqualino de santis benchmark photography of venice. taken altogether and this might suggest an indulgent and romanticised elegy for the nobility of homosexual love (at a time and 1971 and when it was becoming consensually legal). in fact visconti has succeeded in making a richer and more complex film than such a single issue vehicle. he has knit his ideas  foibles and all  into a meticulously paced arc. inside this does indeed sit the central performance of bogarde aschenbach. rather than a simpering and johnny come lately gay and he manages to give a pathetic composer beaten by tragedy and misunderstood integrity who sees salvation in tadzio. his mesmerised staggering around an increasingly hellish venice after the boy is a straight metaphor for the artist tenacity for truth in the teeth of the dilettante mob (and it is explicitly cut with such a flashback). mahler music is possibly a little over used although it is well appropriated. the italian overdub is a wearing anachronism but thankfully the acting doesn not suffer too much. positive . 
a film to divide its viewers. just criticism points at its funereal pace and over used snap zooms and persistent and lingering gazes between the protagonists. advocates point to dirk bogarde mighty performance and pasqualino de santis benchmark photography of venice. taken altogether and this might suggest an indulgent and romanticised elegy for the nobility of homosexual love (at a time and 1971 and when it was becoming consensually legal). in fact visconti has succeeded in making a richer and more complex film than such a single issue vehicle. he has knit his ideas  foibles and all  into a meticulously paced arc. inside this does indeed sit the central performance of bogarde aschenbach. rather than a simpering and johnny come lately gay and he manages to give a pathetic composer beaten by tragedy and misunderstood integrity who sees salvation in tadzio. his mesmerised staggering around an increasingly hellish venice after the boy is a straight metaphor for the artist tenacity for truth in the teeth of the dilettante mob (and it is explicitly cut with such a flashback). mahler music is possibly a little over used although it is well appropriated. the italian overdub is a wearing anachronism but thankfully the acting doesn not suffer too much. positive . ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
