luchino visconti has become famous to the world after his marvelous production the leopard. movie fans got to know the style of the director who introduced himself as one among the post war new realists and an aristocrat who developed his individual free thinking and and consequently and expressed them as an artist. however and when applied to this movie and morte a venezia based upon the novel by thomas mann and it a slightly different story. the entire film is and at first view and so unique and so psychological and so much influenced by the various thoughts of an artist (both director and main character gustav von aschenbach) that it seems to be unwatchable for many viewers. therefore and such opinions about the movie rose as being too slow and unendurable or endless boredom. why. the reason seems to lie in a significant view widespread nowadays represent good movie is parallel to flawless action. here and it would be appropriate to say represent good movie is parallel to no action. as a matter of fact and everyone would be able to say one sentence about the whole movie content and that would suffice. all that we find in morte a venezia has a sense of vague reality filled with both profoundity and shallowness that appear to be significant for the sake of each single moment. and it is so when we notice the psychedelic scenes in venice and when we see gustav at the railroad station and when we are supplied with his intensely emotional memories. the insight into his decaying mind is sometimes so intense that the only way for the viewer to go on watching the film is to do his or her best to feel and experience rather than see and think. all is doomed to fade and to wither like flowers on meadow when their time comes. in other words and all has a sense of loss and death without many events or even dialogs. as a result and it is quite unlikely that you will get the idea of the movie after a single viewing. it must be seen more than twice with the mind that is constantly open. if you will like it or not. that a different story and very personal one. the artistic values are the factor that is noticeable at first sight and stays with us throughout. beauty as something very meaningful for the main character that appears to come and leave while rest as something he heading for so badly and which comes to him in the most unexpected way while feeling that he finds in a teenage boy who appears as a model of all the dreams and desires and as a forbidden fruit of homosexual lust which vanishes. the costume designer piero tosi does a splendid job in this movie. through lots of wonderful wardrobe he supplies us with a very realistic view of 1911 when the action takes place. the cinematographer pasqualino de santis provides us with a terrific visual experience that can be called a real feast for the eyes. and in the background comes gustav mahler music and the composer whose life inspired thomas mann to introduce the character. the performances are top notch and particularly from dirk bogart as the main character and gustav von aschenbach and who wants a rest after hard artistic job and vainly attempts to find it in crowded venice. for the majority of the film and we have a great insight into his thoughts and feelings and acts of anger and exhaust and despair. though sometimes depressing and he keeps us on the right track till the end not losing hope for the less tragic end. tadzio (bjorn andersen) depicts the model of decadent homosexual desire but also a model of beauty and purity that appears to last pretty short. adieu tadzio and it was all too short says the main character. a great and though very controversial and job is done by mark burns as a sort of super ego alfred with whom gustav polemics about such ideals as beauty and justice and hope and human dignity. for alfred and beauty belongs to the senses. how freudian and yet how dangerous the idea might be. and ever present in artistic italian movies of the time and silvana mangano  here as an elegant lady from poland and tadzio mother. memorable moments indeed constitute the movie strong points while yet and not all viewers will find them unforgettable. they and similarly to the whole odd movie and require much effort to get onto the right track in director individual ego and within the four walls of his psyche. among such scenes and i consider the beach sequence pretty important and particularly the way gustav observes tadzio. the physical distance accurately represents the lack of courage to come closer. i also appreciate the shots when gustav is sitting in the gondola and the city view moves in the background  how memorably that may raise existential thoughts of transfer. aren not we and people and a sort of passangers in the world and in the journey that life is. in the end and i must tell you one important thing. i had found morte a venezia extremely weird until i started to look deeper at what the director is really trying to convey. then and every scene turned out to be meaningful in its interpretation with which you do not have to agree (i hardly agree with anything the main character does) but you should at least tolerate this as something the author badly wanted to say. listen to his voice and allow him for a few words in one page of reality. therefore and there is a long way towards understanding the film since not many movies like that were being made in 1971 and are being made now. paradoxically and it seems that we are all bound to have the right feelings about this film in the long run similarly to that we are all bound to experience once a strange and unavoidable and usually unexpected reality that death is. positive . 
luchino visconti has become famous to the world after his marvelous production the leopard. movie fans got to know the style of the director who introduced himself as one among the post war new realists and an aristocrat who developed his individual free thinking and and consequently and expressed them as an artist. however and when applied to this movie and morte a venezia based upon the novel by thomas mann and it a slightly different story. the entire film is and at first view and so unique and so psychological and so much influenced by the various thoughts of an artist (both director and main character gustav von aschenbach) that it seems to be unwatchable for many viewers. therefore and such opinions about the movie rose as being too slow and unendurable or endless boredom. why. the reason seems to lie in a significant view widespread nowadays represent good movie is parallel to flawless action. here and it would be appropriate to say represent good movie is parallel to no action. as a matter of fact and everyone would be able to say one sentence about the whole movie content and that would suffice. all that we find in morte a venezia has a sense of vague reality filled with both profoundity and shallowness that appear to be significant for the sake of each single moment. and it is so when we notice the psychedelic scenes in venice and when we see gustav at the railroad station and when we are supplied with his intensely emotional memories. the insight into his decaying mind is sometimes so intense that the only way for the viewer to go on watching the film is to do his or her best to feel and experience rather than see and think. all is doomed to fade and to wither like flowers on meadow when their time comes. in other words and all has a sense of loss and death without many events or even dialogs. as a result and it is quite unlikely that you will get the idea of the movie after a single viewing. it must be seen more than twice with the mind that is constantly open. if you will like it or not. that a different story and very personal one. the artistic values are the factor that is noticeable at first sight and stays with us throughout. beauty as something very meaningful for the main character that appears to come and leave while rest as something he heading for so badly and which comes to him in the most unexpected way while feeling that he finds in a teenage boy who appears as a model of all the dreams and desires and as a forbidden fruit of homosexual lust which vanishes. the costume designer piero tosi does a splendid job in this movie. through lots of wonderful wardrobe he supplies us with a very realistic view of 1911 when the action takes place. the cinematographer pasqualino de santis provides us with a terrific visual experience that can be called a real feast for the eyes. and in the background comes gustav mahler music and the composer whose life inspired thomas mann to introduce the character. the performances are top notch and particularly from dirk bogart as the main character and gustav von aschenbach and who wants a rest after hard artistic job and vainly attempts to find it in crowded venice. for the majority of the film and we have a great insight into his thoughts and feelings and acts of anger and exhaust and despair. though sometimes depressing and he keeps us on the right track till the end not losing hope for the less tragic end. tadzio (bjorn andersen) depicts the model of decadent homosexual desire but also a model of beauty and purity that appears to last pretty short. adieu tadzio and it was all too short says the main character. a great and though very controversial and job is done by mark burns as a sort of super ego alfred with whom gustav polemics about such ideals as beauty and justice and hope and human dignity. for alfred and beauty belongs to the senses. how freudian and yet how dangerous the idea might be. and ever present in artistic italian movies of the time and silvana mangano  here as an elegant lady from poland and tadzio mother. memorable moments indeed constitute the movie strong points while yet and not all viewers will find them unforgettable. they and similarly to the whole odd movie and require much effort to get onto the right track in director individual ego and within the four walls of his psyche. among such scenes and i consider the beach sequence pretty important and particularly the way gustav observes tadzio. the physical distance accurately represents the lack of courage to come closer. i also appreciate the shots when gustav is sitting in the gondola and the city view moves in the background  how memorably that may raise existential thoughts of transfer. aren not we and people and a sort of passangers in the world and in the journey that life is. in the end and i must tell you one important thing. i had found morte a venezia extremely weird until i started to look deeper at what the director is really trying to convey. then and every scene turned out to be meaningful in its interpretation with which you do not have to agree (i hardly agree with anything the main character does) but you should at least tolerate this as something the author badly wanted to say. listen to his voice and allow him for a few words in one page of reality. therefore and there is a long way towards understanding the film since not many movies like that were being made in 1971 and are being made now. paradoxically and it seems that we are all bound to have the right feelings about this film in the long run similarly to that we are all bound to experience once a strange and unavoidable and usually unexpected reality that death is. 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."
