Violence and passion
| Movie | |
|---|---|
| German title | Violence and passion |
| Original title | Gruppo di famiglia in un interno |
| Country of production | Italy |
| original language | English |
| Publishing year | 1974 |
| length | 121 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Luchino Visconti |
| script |
Suso Cecchi D'Amico Enrico Medioli Luchino Visconti |
| production | Giovanni Bertolucci for Rusconi Film |
| music | Franco Mannino |
| camera | Pasqualino De Santis |
| cut | Ruggero Mastroianni |
| occupation | |
| |
Violence and Passion ( Gruppo di famiglia in un interno ) is a film by Luchino Visconti , which was released on December 10, 1974 in Italy, on November 2, 1979 in Germany and on June 23, 1977 (as a conversation piece) in the USA. Thematically, he ties in with motifs from Death in Venice (implied homosexual tendencies of an older man towards a younger man) and the satirical depictions of the Roman jet set in Fellini's films. It is Visconti's penultimate film, some of which he shot in a wheelchair. In his own words, with the film he also wanted to show allegorically the defenselessness of the bourgeoisie against the influences of decadence or fascism.
action
Rome in the 1970s: An American-Italian professor lives in retirement in a luxurious palazzo and surrounds himself with precious paintings from the 18th century. He hardly has any contact with people outside of his long-time housekeeper Erminia, but even this relationship is characterized by distance. One day the Italian jet set in the form of the rich but vulgar Countess Brumonti (her husband is a politically right-wing manufacturer, but never appears in the film) rings at his door. The countess manages to persuade the professor to rent out the vacant apartment on the upper floor of the palazzo. Her significantly younger German lover Konrad Huebel, her teenage daughter Lietta and her almost fiancé Stefano also make the acquaintance of the professor.
The professor's calm is disturbed by the intrusive new tenants who immediately have their apartment remodeled loudly, examine the professor's apartment for clues to his past, celebrate smaller parties and have amorous experiences with each other (including Konrad with the countess's daughter). But in addition to the annoyance, the professor is enlivened by the young people, he feels especially drawn to the provocative, opaque Konrad. The past of the gigolo Konrad as a former left 68er, who then slipped into drugs and gambling debts, is hinted at - a complete contrast to the previous completely different life of the professor, which was characterized by an aristocratic upbringing and the experiences of the Second World War . He worked for a long time as a scientist in research, but withdrew from it because it had been absorbed by greed for money and the pursuit of power and no longer served human progress. Occasionally the professor sinks into memories of his former wife and his mother. The professor and Konrad have a common interest in art and become increasingly friends after the latter is beaten up one night and the professor finds him and gives him medical care.
The professor invites the Countess, Konrad, Lietta and Stefano to a dinner at which he calls them his 'new family' and at the same time expresses satisfaction that they have brought movement into his frozen life with their move. A dispute breaks out among his guests, however, about Konrad Huebel's dubious past and his relationship with the Countess. She wants to divorce her husband, but not in order to marry Konrad, since he is much younger and socially below her. Konrad then reveals that he spied on her husband for supporting right-wing extremist circles. He flew to Spain not because of business, but out of fear of being arrested under the Franco dictatorship . The countess and the conservative entrepreneur's son Stefano then distance themselves from Konrad. The professor rejects their reactionary convictions, but does not step in to support Konrad.
Konrad goes upstairs after saying goodbye to his new 'father' in a letter and indicating that they would probably no longer see each other alive. Immediately afterwards there is a gas explosion in which Konrad is killed. The professor blames himself for Konrad's death and falls seriously ill. The last picture shows him hanging on an IV on his hospital bed while the countess visits him with Lietta and Stefano. The Countess explains that Konrad committed suicide to get revenge on her and to have the last word. Lietta is the last to speak to the professor and believes that Konrad did not take his own life, but was killed.
Production background
The filming of Violence and Passion took place between April 8 and July 15, 1974 in Rome. Visconti, whose penultimate film it was before his death, was already physically weakened during the shooting. The film also reflects the heated political situation in Italy in the 1970s. Events such as the neo-fascist terrorist attack in Brescia on May 28, 1974 and kidnappings by the Red Brigade took place during filming and received media attention. Visconti feared the danger of a neo-fascist catastrophe and tried to convey a climate of terror and conspiracies with the film.
After their mutual success with The Leopard in 1963, it was Visconti's second collaboration with Burt Lancaster. Visconti's long-time partner took on the second leading role. Since Visconti himself comes from the old nobility and the figure of the professor shares some similarities with him, the cast also gives the film an autobiographical note. In the film, Visconti reflects on his relationship with Berger. In addition to the bigger roles, the film divas Dominique Sanda and Claudia Cardinale have cameo appearances in which they appear in two flashbacks in the role of the mother and wife of the professor.
Piero Tosi and Vera Marzot were responsible for the costumes , while Yves Saint Laurent was responsible for the clothes for Helmut Berger and the Fendi company for the furs for the figure of Silvana Mangano. The music for the film includes Testarda Io by Iva Zanicchi , Desiderare by Caterina Caselli , Mozart's Sinfonia concertante (KV 364) and the aria K 418 "Vorrei spiegarvi, oh Dio!" to listen. Lietta recites WH Auden ("There is no sex life in grave").
The US title Conversation Piece is close to the Italian title Gruppo di famiglia in un interno (German: "Family group in an interior") and comes from the art-historical term for English group portraits of the 18th century, which the professor also collects in films.
In 2013, Ferdinando Cito Filomarino shot a documentary and short film about the genesis of film on the occasion of the restoration and digitization of the film.
synchronization
The film was shot in English and dubbed for the Italian version. The German dubbed version was created for the cinema premiere at Arnold & Richter KG in Munich; Conrad von Molo was responsible for the dialogue script and dialogue direction .
| role | actor | German Dubbing voice |
|---|---|---|
| the professor | Burt Lancaster | Holger Hagen |
| Konrad Huebel | Helmut Berger | Jürgen Clausen |
| Marchesa Bianca Brumonti | Silvana Mangano | Rosemarie Fendel |
| Lietta Brumonti | Claudia Marsani | Andrea L'Arronge |
| Stefano, Lietta's friend | Stefano Patrizi | Ivar Combrinck |
| Erminia | Elvira Cortese | Maria Landrock |
| Doorman | Philippe Hersent | Walter Ofiera |
| Art dealer Blanchard | Jean-Pierre Zola | Ernst Kuhr |
Awards
The film received 12 awards and was nominated for four more. He received u. a. the Italian Film Critics' Prize ( Nastro d'Argento ) for director, camera, production, production design, best young actress (Marsani) and the Italian Oscar equivalent David di Donatello for best film and for Burt Lancaster as best foreign actor. In 1975 he was awarded the Golden Spike at the Valladolid International Film Festival .
Reviews
“In the clash of two glaringly contrasted milieus, the consequences of withdrawing from interpersonal and social interdependence are reflected. Moving, old work that combines skepticism and hope for life by Luchino Visconti, who is always aesthetically sophisticated. "
After "The Leopard", "Violence and Passion" is another masterpiece by Luchino Visconti - a powerful, moving study of the clash of two milieus with which the Italian master director of his relationship with Helmut Berger, with whom he had two years earlier, "Ludwig II. "Had turned, set a monument."
Web links
- Violence and passion in the Internet Movie Database (English)
- English review by Pauline Kael
- French side of the film
Individual evidence
- ↑ After completing the strenuous filming of Ludwig II (1972), he had a stroke and was paralyzed on one side
- ↑ Laurence Schifano: Luchino Visconti. Prince of the film. Gernsbach, Katz 1988, pp. 462-464.
- ↑ IMDb: L'Inganno
- ↑ German synchronous index | Movies | Violence and passion. Retrieved July 11, 2019 .
- ↑ Violence and Passion. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ prisma.de: violence and passion