When Thomas Mann's novella Death in Venice ", 1911/1912, was the outbreak of World War 1 imminent, and even if guess he still could not these consequences, his work was strongly influenced by this period of upheaval. He itself was located for years in a creative crisis, which he had described in his published in 1903, autobiographical story "Tonio Kroeger". And "Death in Venice" with significant biographical traits that manifest themselves not only in the figure of Gustav von Aschenbach, in his in the amendment cited literary works, it was Mann's own work but also in the journey of the family man to Venice in 1911 and becoming familiar with the Polish boys Wladyslaw Moes, who stood for the "Tadzio" godfather. It is less the homoerotic fantasies, for it also in Mann's earlier works, examples There, as the struggle against the desires Dyonis that raises this figure to Aschenbach. This had to be at his work always work out performance, which he not only exemplifies the discipline's own life was subjected, but for a society that in the self-will, joy or even ecstasy were regarded as despicable. "It is the good old story: Werther shot himself, but Goethe was alive," Mann writes in his essay on "Chamisso", which was parallel to the amendment 1911th The deputy death that Aschenbach had to suffer in Venice, should be a liberation for man with which he overcame his crisis.
as Luchino Visconti late 60s began to implement novel's cinematic, he was already in a late phase of his career and was significantly older than the then only 37 year old Thomas is a man And still ideal time for the making of this film hard to imagine, for the post-war society was in a similar turning point as the end of the Wilhelmine era. Visconti did not commit the mistake of many literary adaptations, and these again to maneuver in the context of their time back, but felt the relationship to the current development and used only under the man's story to bring into being from a personally embossed work that went far beyond his usual visual language beyond.
proved as clever move it is also, let Gustav von Aschenbach (Dirk Bogarde) to become a composer, because then he took on a detail that was crucial also for this figure in Thomas Mann's sense. Aschenbach is no coincidence the same age as the composer Gustav Mahler, and with his first name, because man had just before he began his novel, experienced the death of whom he admired composer in Vienna. Mahler's music is also an example of the artistic development of this phase, because it is one hand, nor the tradition, as in their harmonies but already clear to the modern age, why Visconti is separate intensive use of his music no more of his film. She is always in the moments where Gustav is taken from Aschenbach by his emotions, such as the arrival in Venice, especially when looking at the boy Tadzio, resulting in a complete symbiosis between image and empathy is achieved, his inner conflict symbolizes. "Death in Venice" is in particular was a Visconti film, and Luchino Visconti no Gustav von Aschenbach. This is reflected firstly in the back story to this figure, the designed by Visconti was free, and gives him the opportunity to hold a discourse on art. In persona of Alfred (Mark Burns), he criticized Aschenbach as a traitor to his own ideas of art. On the other Visconti had long been a practicing homosexual, he lives out in "Death in Venice" in beautiful images with which he stages as Tadzio consummate ideal of the Gustav von Aschenbach. The great end young men, the quiet of still images with which he viewed the then 16 year old Bjorn Andresen silhouette, and not least the detailed look at his face, and only imagine the height between desire and reality. Solo Dirk Bogarde expression is sufficient to formulate its internal struggles, his brief moments of frantic joy, his fears, his anti-social behavior to the inability of the contact, - "Death in Venice" is very eloquent, without using many words.
Unlike Thomas Mann, can Visconti Aschenbach not die on behalf of himself, but for a principle of war, after the was only of value, which was developed with performance and discipline. Man Aschenbach and his wishes is also his sympathy, even as he, in the spirit's increasingly reveals the absurdity, when he painted with colored hair, like an old rooster runs after the young Tadzio. In this form of humiliation lies the freedom to do no longer adapt, as he him in the experience of death, a moment of supreme happiness gift - no matter how real it might be. In that moment, Thomas Mann and Luchino Visconti very close.
- further discussed in the blog films of Luchino Visconti :
"Ossessione" (1942)
"Boccaccio '70" (1962)
"Il Gattopardo" (1963)
"Vaghe put dell'Orsa" (1965)
"Lo Straniero" (1967)
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