Reżyseria:
Luchino ViscontiZdjęcia:
Pasqualino De SantisObsada:
Dirk Bogarde, Romolo Valli, Mark Burns, Nora Ricci, Marisa Berenson, Carole André, Björn Andrésen, Silvana Mangano, Franco Fabrizi, Marco Tulli (więcej)Opisy(1)
Film jest adaptacją utworu Tomasza Manna. Bohater, Gustaw Aschenbach jest kompozytorem (w noweli pisarzem), którego utwory ujawniają wytworne samoopanowanie, znamienne piętno mistrzostwa. Wiedziony tajemniczą siłą porzuca uporządkowany i perfekcyjnie zbudowany świat, by wyruszyć w podróż. Wędrówka Aschenbacha ma znaczenie inicjacyjne, jest metafizyczną wyprawą w głąb sacrum, ku śmierci. Rola inicjacji jest zawsze ta sama - symbole wędrowania, próby inicjacyjne mają zbudować naszą wewnętrzną ontologię, dostarczyć wiedzy o świecie i sobie samym. (Vivarto)
(więcej)Materiały wideo (2)
Recenzje (4)
This movie adaptation of a famous story has an insane running time due to the vastness of the source material. It has a captivating musical score, beautiful costumes and some great cinematography, but I found it too drawn out and visually rather poor, for example the shot of Aschenbach, then Tazio and back again. In short, a film that must have been controversial in its day but fizzles out today, and it could have also done without two thirds of its running time.
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A musical beauty abused for its narrative emptiness and dragging camera capturing Venice, Dirk Bogarde, and Björn Andrésen. Luchino Visconti does exactly what I condemn in acclaimed directing giants. He films for himself and gives the viewer nothing more than his smug smile. I hate the impersonal form at the expense of the story, and therefore, I would be a hypocrite if I rated it higher.
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Seen on a wide screen in the classy premises of Slovácké divadlo and I have to say that it was my greatest experience at SFS so far!! A visual and auditory feast with Visconti's incredible magic with images and the divine music of Gustav Mahler. Even the story, however simple, can captivate with its poignancy on the theme of forbidden love and the decay of society and the human spirit. However, it is how and where you see the work that is essential to the overall impression. This really belongs in the cinema.
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In the context of the German Visconti trilogy, this is an interesting piece. The Damned was a mannerist film of low artistic quality, but this one had quite a bit of energy mainly thanks to Mann's book. The climax amounts to the very conciliatory forgiveness of a nation defined by an all-powerful elite.
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