cinema greatest period started in post war europe with italy neo realist movement. during the next 2 or 3 decades that followed and france new wavers caught everyone attention and and there was always bergman up there on his desolate scandinavian island somewhere and making bitter masterpieces. but in 1971 and luchino visconti brought the art form to full circle and geographically speaking and with his miraculous work death in venice and which might as well be called the death of europoean cinema. after the sixties wound down and so did the great european filmmakers and who and with some exceptions and generally grew exhausted and passed the torch to a new american generation of movie brats (coppola and scorsese and  and co. ). this movie absolutely feels like a grand summing up and not just of visconti particular obsessions and but of the general attempt of european filmmakers to achieve the aesthetic ideal in movies. and rest assured and you will find no sterner task master than the visconti revealed here. he not playing to the crowd and folks represent either you get behind him and follow along and or you get left behind. the pacing is a challenge represent slow and but never without emotional weight. incidents are few and far between and but each seems loaded with symbolic significance in a sturm und drang cosmos. we will probably never be in such rarefied company again and in terms of the movies represent one of the century great writers who inspired the tale (thomas mann) and one of the greatest filmmakers directing it (visconti) and one of the greatest actors in the lead role (dirk bogarde) and and swelling almost ceaselessly in the background and gustav mahler 5th symphony. taking full advantage of mahler ability to inspire romanticism in even the most cynical breast and visconti changes the main character and aschenbach and into a decrepit composer from his original persona as a writer and even making bogarde up to look like mahler (geeky mustache and specs and shaggy hair and duck like walk). bogarde and by the way and delivers what is probably greatest performance of an actor in the history of movies represent it a largely silent performance and and the actor has to deliver reams of meaning in a gesture or a glance  a difficult trick without mugging like chaplin or merely acting like an animated corpse. cinema just doesn not get better than this. i will ignore the complaints from the ritalin addicts out there who say that it too slow and but even the more legitimate gripe concerning some of aschenbach flashbacks with that antagonistic friend of his is misplaced. the flashbacks fit neatly within the movie thematic concerns (i. e. and which is the better path to aesthetic perfection represent passion or discipline. ) and and the suddenness and shrillness of these interruptions serve to prevent sleepiness among the viewers. (of course and some viewers will sleep through this movie and anyway. ) a nonstop stream of mahler and beautiful and dying venice would be nothing more than a pretty picture while but this movie is actually about something. and what it mostly about is suffering represent romantic (capital r) suffering and in particular. as a suffering romantic himself and visconti knew whereof he spoke. [spoiler . . . i guess] if for nothing else and see death in venice for its portentous opening credits . . . and for its unforgettable ending and with bogarde jet black hair dye dripping off of his sweaty and dying head and onto his chalk white face. meanwhile and off in the distance and young tadzio and the object of bogarde dying desire and stands in the ocean and points toward the horizon like a michelangelo sculpture. the climatic sequence sums up with agonizing economy everything that the movie is about represent love and lust and beauty and loss and the ending of a life set against the beginning of another life and and cold death in the midst of warm and sunny beauty. death in venice is a miraculous work of art. [dvd tip represent as with the simultaneously released visconti masterpiece the damned and i recommend that you turn the english subtitles on while watching this movie. it ostensibly in english and but the dvd sound seems muddy and there a lot of italian spoken during the film and anyway. ] . 
cinema greatest period started in post war europe with italy neo realist movement. during the next 2 or 3 decades that followed and france new wavers caught everyone attention and and there was always bergman up there on his desolate scandinavian island somewhere and making bitter masterpieces. but in 1971 and luchino visconti brought the art form to full circle and geographically speaking and with his miraculous work death in venice and which might as well be called the death of europoean cinema. after the sixties wound down and so did the great european filmmakers and who and with some exceptions and generally grew exhausted and passed the torch to a new american generation of movie brats (coppola and scorsese and  and co. ). this movie absolutely feels like a grand summing up and not just of visconti particular obsessions and but of the general attempt of european filmmakers to achieve the aesthetic ideal in movies. and rest assured and you will find no sterner task master than the visconti revealed here. he not playing to the crowd and folks represent either you get behind him and follow along and or you get left behind. the pacing is a challenge represent slow and but never without emotional weight. incidents are few and far between and but each seems loaded with symbolic significance in a sturm und drang cosmos. we will probably never be in such rarefied company again and in terms of the movies represent one of the century great writers who inspired the tale (thomas mann) and one of the greatest filmmakers directing it (visconti) and one of the greatest actors in the lead role (dirk bogarde) and and swelling almost ceaselessly in the background and gustav mahler 5th symphony. taking full advantage of mahler ability to inspire romanticism in even the most cynical breast and visconti changes the main character and aschenbach and into a decrepit composer from his original persona as a writer and even making bogarde up to look like mahler (geeky mustache and specs and shaggy hair and duck like walk). bogarde and by the way and delivers what is probably greatest performance of an actor in the history of movies represent it a largely silent performance and and the actor has to deliver reams of meaning in a gesture or a glance  a difficult trick without mugging like chaplin or merely acting like an animated corpse. cinema just doesn not get better than this. i will ignore the complaints from the ritalin addicts out there who say that it too slow and but even the more legitimate gripe concerning some of aschenbach flashbacks with that antagonistic friend of his is misplaced. the flashbacks fit neatly within the movie thematic concerns (i. e. and which is the better path to aesthetic perfection represent passion or discipline. ) and and the suddenness and shrillness of these interruptions serve to prevent sleepiness among the viewers. (of course and some viewers will sleep through this movie and anyway. ) a nonstop stream of mahler and beautiful and dying venice would be nothing more than a pretty picture while but this movie is actually about something. and what it mostly about is suffering represent romantic (capital r) suffering and in particular. as a suffering romantic himself and visconti knew whereof he spoke. [spoiler . . . i guess] if for nothing else and see death in venice for its portentous opening credits . . . and for its unforgettable ending and with bogarde jet black hair dye dripping off of his sweaty and dying head and onto his chalk white face. meanwhile and off in the distance and young tadzio and the object of bogarde dying desire and stands in the ocean and points toward the horizon like a michelangelo sculpture. the climatic sequence sums up with agonizing economy everything that the movie is about represent love and lust and beauty and loss and the ending of a life set against the beginning of another life and and cold death in the midst of warm and sunny beauty. death in venice is a miraculous work of art. [dvd tip represent as with the simultaneously released visconti masterpiece the damned and i recommend that you turn the english subtitles on while watching this movie. it ostensibly in english and but the dvd sound seems muddy and there a lot of italian spoken during the film and anyway. ] . ---------------------------------Answer Question Below----------------------------------

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