• A stylistic break for Visconti for the most part— there is some nice blocking and framing in the dining sequences (flowers galore), beach sequences (see below) but here- Visconti mostly uses the slow zoom as his major weapon— giving us insight into Dirk Bogarde’s Gustav von Aschenbach’s mind, memory and gaze. Zooming in on his nuanced and often tortured face in dialogue-less long sequences and eyeing’s the young Tadzio
  • The music of Mahler a character in the film for sure
  • Zooms in to show memory and reflection
  • Décor isn’t The Leopard or Visconti’s best work—but there’s a dedication to the floral arrangement in the mise-en-scene here that’s worthy of praise
  • Like the ball sequence in The Leopard with Lancaster Visconti’s camera is capturing Bogarde here, in silence (well, aided by Mahler) , in crowded rooms— he surveys via the camera zoom instead of losing him in the larger frame—and it’s not as strong — here the camera is ducking in and out of the opulent high life in Venice. Vases, lamps—and then we are a voyeur looking at the polish boy
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Like the ball sequence in The Leopard with Lancaster Visconti’s camera is capturing Bogarde here, in silence (well, aided by Mahler ) in crowded rooms— he surveys via the camera zoom instead of losing him in the larger frame—and it’s not as strong
  • A meditation on loss, loneliness, solitude
  • Most of the film is silent—the flashback dialogue sequences (intellectual debates on art) are magnificent formal breaks—dialogue that carries over to the silence present tense sequences
  • Costume work- typical of Visconti’s body of work- superb—the white suit and hat
sublime frame here- painterly
  • Unlike Visconti’s best work there are long sequences here where we are just surveying—observing—unawed by the visual style
  • A gorgeous frame at 70 minutes Bogarde writes on the right of the frame and the boy passes on the left
A gorgeous frame at 70 minutes Bogarde writes on the right of the frame and the boy passes on the left and the vertical lines intersecting
  • The row of cabanas— and umbrella—a brilliant mise-en-scene
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The row of cabanas— and umbrella—a brilliant mise-en-scene
  • At 74 minute talking to (or arguing with) the concierge over the foliage obstructing the frame like von Sternberg’s work
  • It is an achievement for Bogarde—such a complex character, lust, pained, he’s rude to everyone he talks to virtually
  • A great shot at 76 minutes at the whorehouse with the open door- mirror work as well- the entire sequence is really well done
  • The city of plagues – cholera—but undeniable beauty and romance as well. Lust is keeping him trapped here- decay and ruin. The dreamlike shots of the ruin here.
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the city of plagues – cholera—but undeniable beauty and romance as well. Lust is keeping him trapped here- decay and ruin. The dreamlike shots of the ruin here.
  • Like Le Notti Bianche 1957 from Visconti—it is Venice- and it feels like there are only 2-3 people in this town walking around (in this case Bogarde’s character and Tadzio or he and his family)
  • Flowers in the frame at 115—front right- von Sternberg mise-en-scene
Flowers in the frame at 115—front right- von Sternberg mise-en-scene
  • 126 minute a glorious shot again with the sun in the frame and the kid on the beach—cuts to a long shot of him alone
126 minute a glorious shot again with the sun in the frame and the kid on the beach
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—cuts to a long shot of him alone — a meditation on loneliness
  • HR/MS border