Death in Venice (film)

from Wikipedia, the free encyclopedia
Movie
German title Death in Venice
Original title Morte a Venezia
Country of production Italy
original language English
Publishing year 1971
length 130 minutes
Age rating FSK 12
Rod
Director Luchino Visconti
script Luchino Visconti
Nicola Badalucco
production Luchino Visconti
music Gustav Mahler
camera Pasqualino De Santis
cut Ruggero Mastroianni
occupation
synchronization

Death in Venice (original title: Morte a Venezia ) is the title of a film by Luchino Visconti from 1971. It is based on the novella Death in Venice by Thomas Mann and is one of the most famous adaptations of the writer.

Based on the original, Visconti describes the humiliation of Gustav von Aschenbach , portrayed by Dirk Bogarde , who falls for the beautiful boy Tadzio, secretly observes and persecutes him and, despite the spreading cholera, does not leave the deadly city. In contrast to the novella, the traveler is not a famous writer, but a failed and ailing composer.

With the detailed description of Venice, the atmosphere of decadence and decay and the late romantic music of Gustav Mahler , the film is considered by many critics as Visconti's most important work and introduced other literary adaptations that dealt with questions and problems of media interpretation of literary works. As Bogarde himself stated, the role of the torn and failing man was the high point of his career.

action

The composer Gustav von Aschenbach finds himself in an artistic crisis and travels to Venice , where he is supposed to recover on the advice of his doctors. A steamship called Esmeralda glides into the city's lagoon at dawn , while the Adagietto from Mahler's 5th Symphony can be heard. The composer sits on the deck - locked in his coat and protected from the cold with a scarf - looking into the distance. When Aschenbach wants to leave the ship and get into the gondola , an obtrusive, conspicuously made-up old man harasses him with suggestive gestures and idioms, whereupon Aschenbach turns away in a distinguished manner. The gondolier, on the other hand, does not take him to San Marco, where he wants to take the vaporetto , but instead, against his request, directly to the Lido , on whose beach the Grand Hotel des Bains is located. There he takes up quarters and, in accordance with the ritual of bourgeois life, first puts up pictures of his wife and daughter.

While he is waiting for dinner in the hotel lobby and the four-man ensemble is playing parts of the ball siren waltz from Lehár's The Merry Widow , he notices a group of young Polish people who are accompanied by a governess. His gaze remains spellbound on the handsome boy Tadzio, who, dressed in an English sailor suit, looks lost in thought into the room. With his shoulder-length, blond hair and the casual demeanor, he stands out from the parted, modestly dressed sisters. Starting from this picture, Aschenbach's thoughts slide back to a long conversation with his friend Alfried, a conductor who had performed some of his works. In the increasingly emotional and violent confrontation, they discuss fundamental questions of aesthetics , which for Aschenbach are connected with his role as an artist, which is also understood in an educational way. The central question here is whether beauty arises artistically or naturally and is superior to art as a natural phenomenon. Against Aschenbach, the conductor vehemently advocates the thesis of their naturalness, which is supported in terms of film technology by the simultaneous fading in of Tadzio's face. Beauty consists of many and often ambiguous elements - music is the ambiguity itself, which he demonstrates on the piano with a simple melody from the finale of Mahler's fourth symphony .

In the days that followed, Aschenbach watched the boy play with his companions and bathe in the sea. He appears to be popular and respected as his name is often called and he gives instructions on building a sandcastle. His closest friend is the stronger and dark-haired Jaschu, a Pole like him, who puts his arm around his shoulder and kisses him on the cheek, whereupon the observer puts the fountain pen to one side and smiles shyly. After Aschenbach saw the beautiful in the middle of a group of young people in the hotel elevator and reached his room, he remembers another argument with Alfried, which was accompanied by personal allegations, and decided to leave Venice. But the decision is timid, and the farewell to Tadzio, accompanied by the words “May God bless you”, is only temporary. When his luggage is swapped at the station, he is brought back to the Lido, relieved, yes, full of joy to be able to be near him again, but first sees an emaciated man collapse in the station hall, a sign of the approaching epidemic . Soon Aschenbach wants to find out more, but is always put off. So the flattering hotel manager declines and speaks of fluffy scandal stories in the foreign press. Only a friendly employee of a travel agency on St. Mark's Square reported after some hesitation about Indian cholera, which had been spreading for several years and had already claimed many victims in Venice. He advises Aschenbach to leave today rather than tomorrow. During the detailed explanation, Aschenbach imagines how he approaches the elegant, pearl-adorned mother Tadzios, warns her of the dangers of cholera, and pats the son who has been summoned on the head.

When the boy strolled past Aschenbach's beach hut a few days later, wrapped in a white bath towel and with a bare shoulder, and looked at him, he was encouraged to partake in a composition. The Misterioso from the third symphony sounds with Nietzsche's Trunkene (m) song “Oh Mensch! Be careful! ”, Which can be found in the fourth and last part of his Zarathustra . In further flashbacks, the protagonist remembers happy moments with his wife and their daughter who later died. While Tadzio tries on Beethoven's piano piece Für Elise , Aschenbach thinks of an encounter with the prostitute Esmeralda, who also tinkled the piece. One evening, Tadzio returns from an excursion and walks past Aschenbach, their eyes crossing. The boy smiles at him. Shaken, Aschenbach sits down on a bench in the dark, speaks to himself, so he shouldn't smile at anyone and finally confesses: "I love you!"

A few days later, a group of four musicians performed in the hotel's front garden and entertained the audience with languishing street songs. Among them stands out a red-haired guitarist and singer who performs Armando Gill's cheeky chi vuole con le donne aver fortuna and approaches the guests on the large terrace with faxes and grimaces. While his cheeky performance amuses many people present, Tadzio and his mother remain serious and react distant and even embarrassed. Aschenbach looks tense and occasionally receives glances from the younger man, who leans gracefully with his left forearm on the parapet. The group is expedited out, but returns and plays a funny hit with a laughing refrain, which the juggler accompanies with sometimes obscene gestures. His rhythmic laughter is so comical and irrepressible that it has an infectious effect on some of the listeners and even the governess and one of Tadzio's sisters.

Aschenbach does not succeed in mastering his passion for the boy platonically and in using it further for his work. The aging man loses himself more and more in his daydreams and in his feelings for the unreachable youth. From a chattering Hairdresser he can be dyed black, her face white, the gray hair and the mustache make-up , her cheeks with rouge emphasize Apply lipstick and put a rose in his buttonhole and so similar to the intrusive dude who had harassed him on his arrival. Without ever speaking to Tadzio, he develops an obsession and secretly pursues him and his family through Venice until one evening he collapses at a fountain and sinks to the dirty floor. He thinks of a failed performance and remembers that Alfried subsequently mocked him. When he later awakens from a nightmare in the hotel room, Tadzio's angelic face is faded in against a blue sky.

Shortly afterwards he learns that the Polish family is leaving. As he goes to the almost deserted beach, an elderly lady sings the lullaby from Mussorgsky's Songs and Dances of Death from a beach chair in Russian . Exhausted in a deck chair and sitting with hanging arms, Aschenbach, with the color of his dyed hair running down his heated face, watches as the boy is playing with some friends in the sand. Concerned, he notices how the game with his comrade Jaschu degenerates, who throws Tadzio to the ground in a wrestling match and harasses him. After Tadzio has recovered a little and has rejected a gesture of reconciliation from Jaschus, he strolls down to the sea, in which the sun is reflected, while the distant sounds of the Adagietto can be heard again. He wades through the shallow, slowly deepening water until he reaches a sandbar. He slowly turns around and looks over his shoulder back to the bank and at Aschenbach, who is dying, following his movements. Tadzio slowly raises his arm and points into the distance. Aschenbach tries to get up, but then collapses dead in a deck chair.

Background and production history

Luchino Visconti

The Grand Hotel des Bains was Mann's residence and also served as a location for the film

Director Luchino Visconti felt connected to German culture, literature and music and, besides Goethe , especially valued Thomas Mann. This affinity becomes clear in his films, which are “dipped” into “German music, Mahler, Wagner” and Thomas Mann's work and, as with the revered writer, are shaped by the “secret of illness and suffering”. This was also evident in his next film, the opulent Ludwig II with music by Richard Wagner and Robert Schumann , which, after Die Verdammten und Tod in Venice, forms the finale of his “German trilogy”.

He designed the libretto Mario e il Mago based on the novella Mario and the Magician , which was not allowed to be published in Italy at the time of Italian fascism because of its critical tones . According to the composer Franco Mannino, who was related by marriage to Visconti, he met Thomas Mann personally when he authorized the arrangement and also checked Mannino's score and instrumentation . Choreographed by Léonide Massine , the ballet premiered on February 25, 1956 at La Scala in Milan . With the opera Luisella performed in 1969, based on the biting story Luischen , Mannino set another work by Thomas Mann to music .

In the diaries , however, there is no confirmation of an encounter with Visconti and Mannino, while another contact with the Mann family is guaranteed: Erika Mann sent Visconti a telegram after the performance, praising his Mario and asking if he was interested in the To direct the production of a Felix Krull film with a first-class company. The project was not implemented.

In addition to his death in Venice , Visconti wanted to film other works by Thomas Mann throughout his life, such as the Elect and Tonio Kröger, and planned to work on the extensive contemporary novel The Magic Mountain as an opera or film, a project that came to nothing. Finally, he decided on a film adaptation of the shorter novella Death in Venice , which he carefully prepared over the years. It also took a long time to raise the production budget of around two million US dollars because of the risky issue. Visconti shot at the Grand Hotel des Bains , where Thomas Mann spent his vacation in 1911, which inspired him to write Death in Venice . The flashback scenes were filmed in Austria and Northern Italy.

Dirk Bogarde and Björn Andrésen

Bogarde with Jane Birkin at the Cannes Film Festival, (1990)

During the shooting of the controversial film Die Verdammten , in which the name "Aschenbach" also appears in the form of an SS man played by Helmut Griem , Visconti Bogarde promised a role in his next film. Bogarde prevailed against Burt Lancaster , among others , who was also interested in the role of Aschenbach. In the crime film The Vicious Circle , he had already worked in a work with a homosexual background and had been praised for portraying Melville Farr. After working with Visconti, he settled in southern France with his partner Anthony Forwood for about twenty years.

For Dirk Bogarde, the role was the high point, indeed the end of his artistic career. Although he could take on other roles, he could never hope to surpass his artistic performance or play in a better film.

Visconti captured the search for a suitable actor, whose youthful beauty had to come close to the Tadzio ideal, in the documentary Alla ricerca di Tadzio . While Bogarde was an established film star, Björn Andrésen had only played a minor supporting role in a Swedish film. Andrésen later expressed ambiguities about his fame through the film and said that after the premiere of Visconti he was invited to a gay nightclub, where he felt molested by older men. He received only $ 5,000 for the role of Tadzio. The famous film actress Silvana Mangano was won over as a guest star for the relatively small role of Tadzio's mother.

Transformation issues

The view was often expressed that it would be difficult or even impossible to film Thomas Mann's short-story works. Thomas Mann himself first noticed that film had little to do with art. After the first film adaptation of Buddenbrooks , he explained in the short essay Über den Film that his interest in this medium had grown, that he often attended screenings and never tired of “musically spiced viewing pleasure”; however, as a writer, he has so far had little luck with the cinema.

In 1955, however, he mentioned film's own industrial laws as a means of mass entertainment. The film shows increasing artistic ambition, which it has known how to satisfy in not a few special cases. There are some films of higher artistic value than a "mediocre novel" has, and the general question of ranking can only be answered according to the individual value of the respective objects. He hopes that his works will be transferred to the canvas. A good novel does not have to be spoiled by the film adaptation, since the essence of the film is too related to that of the narrative and this is closer than the drama .

The film critic Youssef Ishaghpour characterized the method of significantly changing a writer's work and making it the core of a new creation as legitimate adoption . It is absurd to expect fidelity to the literary source from film directors. Anyone who worked with Visconti or watched him, such as Michelangelo Antonioni , knows that "to adapt means to adopt for him".

details

In Death in Venice , Visconti processed experiences of transience and aging , decay and approaching death, and tied to a theme that he had already dealt with in the films The Stranger and The Leopard . The melancholy artist portrait, permeated with autobiographical elements, differs from its preluding predecessors in that it focuses on the protagonist's physical decline and suggests lurking death with symbols of foreboding.

Viconti combines topics such as decadence and artist problems , platonic love and elements of Arthur Schopenhauer's philosophy from Thomas Mann's work and shows Aschenbach's stream of consciousness with flashbacks . While he sticks to the frame history of the template, he deviates from it in many places for various reasons and leaves out parts. The successful writer, who knows how to represent and manage his fame from his desk, turns into a failed composer who reaches the city in a sickly condition. The previous history in Munich and with it the encounter between Aschenbach and the red-haired man, which triggered his desire to travel, are also omitted. The voluptuous dream about the adored “strange god” from the fifth chapter of the novella is replaced by a hint when Aschenbach awakens from a nightmare a few days before his death .

On the other hand, Visconti takes on details in language, clothing and gestures with meticulous precision. This can be seen in many encounters and dialogues, for example in the first disturbing scene in which Aschenbach waits to be able to leave the steamer to be transferred to San Marco and is harassed by the drunk, "fake youth". In the novel, the old man in an over-fashioned summer suit and red tie mingles with a group of young people who tolerate his "teasing pounding in the ribs" as if he belonged to them and stands out with his crowing voice and exuberant behavior. The German dubbed version of the novella corresponds with the bawled words "we wish the happiest stay [...] we recommend inclined memories [...] our compliments to the darling, the very dearest, the most beautiful darling ..."

music

Visconti manages without a film score composed for the film and, in addition to Gustav Mahler, draws on other composers such as Modest Mussorgski , Ludwig van Beethoven and Franz Lehár ( The Merry Widow ).

Gustav Mahler: Adagietto

With the late romantic Adagietto from the fifth symphony , Visconti underscores Aschenbach's mental state in numerous film scenes. The initially intimate to melancholy character of the piece reflects the emotional world of the protagonist as does the more dynamic middle section, which is characterized by agitated Wagnerian chromatics . Mahler's most famous slow movement follows in melody and key , harmony and instrumentation his Rückert song Ich bin der Welt got lost , whose personal character he is said to have affirmed to Natalie Bauer-Lechner with the words “that's me”.

If the Adagietto underscores the composer's longing, melancholy and conflict, a work by Mussorgsky heralds his imminent death. When Aschenbach goes to the beach at the end of the film to see the idol for the last time, the a cappella lullaby Ninna Nanna, based on the poem by Arseni Arkadjewitsch Golenishchev-Kutuzov, in which death knocks on the door to hear the To fetch a feverish child and to lead it into eternal rest. The Latvian opera singer Mascia Predit took on the role of a Russian lady who performed the dark piece for the few remaining guests.

The music is so significant that Franco Mannino, who conducted the Orchestra dell'Accademia Nazionale di Santa Cecilia , described it as the film's “third key figure”. In contrast, the language takes a backseat, as only about a quarter of the film is determined by dialogues, mostly a confusion of different languages ​​of the guests prevails as background noise and Visconti was able to concentrate on the speechlessness and moments. Against this background, Aschenbach's solitary confession is all the more important.

Gustav Mahler

Gustav Mahler 1909

Visconti turns the respected writer into an aging, ultimately failed composer, to whom he, like Thomas Mann, lends Gustav Mahler's traits. Thomas Mann had studied Mahler's work shortly before his death, attended the world premiere of the Eighth Symphony and wrote enthusiastically about it.

In his autobiographical lecture On Myself , which was initially held in English , Thomas Mann describes how he created a hero of weakness with Gustav von Aschenbach , working on the edge of exhaustion and pushing himself to the limit, a performance ethicist who was outwardly based on Mahler. Mahler is a great musician who returned from the United States at the time a seriously ill man. His “princely death in Paris and Vienna”, which one could follow in the current newspapers, determined him to give Aschenbach the “passionately strict” traits of the artist he was familiar with. Mann's theme is once again the "devastating incursion of passion, the destruction of a formed, apparently finally mastered life, which is degraded and absurd by [...] Eros-Dionysus." So the artist, who is caught up in the sensual, cannot really become worthy of one A statement that he himself puts into Aschenbach's mouth in the stylized Platonic dialogues .

Transforming a writer into a musician was a trick that Max Ophüls had already used in 1948. In his film Letter from a Stranger , he turned the novelist R. of Stefan Zweig 's novel of the same name into the concert pianist Stefan Brand. Visconti went further than Ophüls and was able to refer to Thomas Mann himself, who had emphasized the relationship of his work to music several times. In May 1939, for example, he gave the lecture Introduction to the 'Magic Mountain' at Princeton University and stated that “the music has always had a strong influence on style” and that the novel has always been “always a symphony” to him Work of counterpoint, a thematic fabric in which the ideas play the role of musical motifs. ”He belongs“ to the musicians among the poets ”and was influenced by Richard Wagner, whose sophisticated art of the leitmotif he transferred to his narrative work.

Dialogues with Alfried

The conversations about the essence of art can be heard on the one hand in the flashbacks to the heated discussions with the opponent Alfried, who is reminiscent of Arnold Schönberg , on the other hand as voices from the background. They incorporate elements from Phaedrus as well as theories about modern art and music, which are based on Theodor W. Adorno and reproduce parts of a conversation between Adrian Leverkühn and the first-person narrator Serenus Zeitblom . Leverkühn had surprisingly characterized the music to his friend: It was "ambiguity as a system." All tones also have different functions in different, changeable harmonic relationships and can be confused enharmonically .

Aschenbach's initial belief in the platonic purity of art contrasts with the natural, sensual beauty of Tadzio, which he ultimately cannot resist, which confirms Alfried's antithesis.

Tadzio and Esmeralda

Thomas Mann , 1937
photo by Carl van Vechten

For Visconti it made sense to incorporate elements of the novel Doctor Faustus about the life of the German composer Adrian Leverkühn , who varies the novella’s artist problem. He took the name “Esmeralda” from the time novel for the ship with which Aschenbach reached Venice. It refers to the syphilis and thus deadly prostitute, whom Adrian Leverkühn gets involved with in the novel and Aschenbach in the film. It is introduced as the name of the butterfly Hetaera esmeralda , which “ resembles a wind-guided petal in flight” and is described in “transparent nudity, loving the twilight shade of leaves”. The letters heae-es later appear as a motif in Adrian's composition. Thomas Mann had referred to an experience of Friedrich Nietzsche in Cologne, which he painted in complex ways and made a diabolical condition for ingenious creativity. As Paul Deussen reported, the philosopher was led into a brothel by an inexperienced servant . Confused by all the expectant looking women, he finally went to a piano, played a few chords and was able to escape outside.

The ambivalent meaning of Esmeralda has been interpreted in different ways: For Rolf G. Renner, the film combines the death configuration of the novella with the death motif of Doctor Faustus : Esmeralda is both a sign of death and increased aesthetic productivity and for this reason pervades many of Adrian Leverkühn's works . The seductive images of the woman and the boy Tadzio, the sight of which inspires the writer to write valuable prose and the composer to a few bars of music, are musically linked at various points in the film. In the film, Tadzio plays the opening bars from Beethoven's Für Elise , which reminds Aschenbach of an encounter with Esmeralda. In this way it becomes clear to the interpreter that the novella depicts a homoerotic conflict, but also raises the fundamental question of how drive and spirit are to be conveyed. Homoeroticism proves the inner tension in art and points to its Apollonian-Dionysian ambivalence .

With Aschenbach it is the dangers of cholera, with Leverkühn it is those of syphilis, the latter loves the boy Tadzio, the composer loves his hearty nephew Echo. For Leverkühn, Esmeralda is a messenger from the devil , with whom he later makes a pact. For Aschenbach, Tadzio not only embodies the idea of ​​beauty, but also appears as a messenger of death and Hermes psychopompos . Visconti connects the characters musically, with Tadzio starting the piano piece and Esmeralda continuing it in memory, connecting the beginning and end of the film with them. At the beginning, the name of the steamer points to Aschenbach's fateful journey to Venice, while in the last scene Tadzio standing in the water as Hermes shows him the way to the afterlife .

reception

Luchino Visconti , Sergio Garfagnoli and Björn Andrésen

Numerous critics consider Death in Venice to be Visconti's most important work and a prime example of a successful film adaptation.

For Rolf G. Renner, the film adaptation impresses with the successful combination of optical and musical sequences. The interpretation also reveals the relationship between the novella and Thomas Mann's late work. In this way, a network of new connections arises in two ways, encompassing and expanding those of the novella. The initially daring portrayal of Aschenbach as a composer and his stylization based on the model of Gustav Mahler prove to be convincing in terms of interpretation. Just as Mahler's music stands for a late phase and end of musical tradition and order, but at the same time full of tension in the new , Thomas Mann also wanted to preserve tradition and at the same time break new ground. Aschenbach defends the high stylistic ideal of classicism, which he opposes the apparent demands of the time, but is at the same time seized by a longing for a new form of writing.

In Wolfram Schütte's view, Visconti reduced the stylized Platonic dialogue about art and beauty, duty and passion, as well as the polarity of the Apollonian and Dionysian to flashbacks that permeate Aschenbach's consciousness like scattered fragments of conscience . With his additions and abbreviations he creates his own "narrative mythology", but coarsens the template and robs it of its dialectic.

For Peter Zander, some adaptations are only revealed when they are detached from the literary model and interpreted with a view to the director's oeuvre. Brandauer's Mario and the Magician are associated with works such as Mephisto , Colonel Redl and Hanussen , which he shot under the direction of István Szabós . This becomes very clear with Visconti, who in Morte a Venezia transferred his central work theme to the film and greatly changed the template, although the details of the color symbolism and the interior have been faithfully adopted. Jean Améry noted that from now on there were two versions of death in Venice : Thomas Mann's novella, “which rose from a disreputable gimmick” into the sphere of classicism, on the one hand, and “Visconti's cinematic magic” on the other.

In the literary quartet of December 15, 1994, Marcel Reich-Ranicki stated that - in contrast to a "fact-communicator" like Joseph Roth - it was not easy to make a film of Thomas Mann and that there were many unsuccessful attempts. An exception is the film Viscontis, which did not take on a single dialogue and completely redesigned the novella, which he did well.

In a conversation broadcast on television in 1982, Golo Mann said , when asked about his father's literature being made into films, that Thomas Mann took the view that “a book is a book and a film is a film” and was “very clearly” in favor of making films. Golo Mann named Death in Venice as the most successful cinematic implementation and found that it is “a very beautiful film, almost too beautiful”, which “perfectly reproduces very important aspects of the novel”. Thomas Mann "would have been thrilled" (if he had seen the film).

As is customary in the industry, books on film are published after literary adaptations. While Thomas Mann was still alive, S. Fischer Verlag published a paperback copy of the novel for the successful film Royal Highness . Visconti's adaptation had a clear sales-promoting effect on the template. Shortly after the film started, the novella sold ten times more often than before. Whenever possible, the covers of paperback editions of his works in the 1970s were illustrated with film photos. In the anthology Death in Venice, for example, there is an image of a change of perspective between Aschenbach (Dirk Bogarde) and Tadzio (Björn Andrésen).

Dirk Bogarde later recalled in his autobiography that the co-producing studio Warner Brothers initially did not want to release the film in the US because it feared a ban on account of profanity. Ultimately, however, the film celebrated its world premiere on March 1, 1971 in London, at which Queen Elizabeth II was also present and donations were collected for the preservation of Venice. The work was much and controversially discussed, but met with a predominantly positive response. The film was released in West Germany on June 4, 1971, and was shown for the first time in the GDR in 1974. The film was first shown on German television on March 14, 1993 by ZDF .

An ironic quote from Morte a Venezia can be found at the beginning of the film Mahler by Ken Russell . On the way to Vienna, the train stops at Vöcklabruck station . The very weakened Mahler portrayed by Robert Powell looks through the window after his wife Alma , who wants to buy a fashion magazine. Then he sees a boy in a sailor suit who is forgetting about the platform columns. At this moment the first notes of the adagietto sound. Sitting on a bench in the foreground is a middle-aged man in a white suit who also sees the boy and smiles shyly. The boy notices the interest, strolls past him, touches the back of the bench and continues his game directly in front of him with sweeping gestures. In Visconti's adaptation, Tadzio circles around some bars of a covered wooden walkway before Aschenbach's eyes.

synchronization

The German dubbed version of Death in Venice was made for the German cinema premiere.

role actor German Dubbing voice
Gustav von Aschenbach Dirk Bogarde Holger Hagen
Hotel manager Romolo Valli Paul Bürks
hair stylist Franco Fabrizi Bruno W. Pantel
Alfried Mark Burns Manfred Schott
English travel agent Leslie French Wolfgang Buettner

Awards

literature

  • Gilbert Adair : The Real Tadzio. 2001.
    • German edition: Adzio and Tadzio. Władysław Moes , Thomas Mann, Luchino Visconti. The death in venice. Translated from English by Thomas Schlachter. Edition Epoca, Zurich 2002, ISBN 3-905513-28-5 .
  • Béatrice Delassalle: Luchino Visconti's “Death in Venice”. Translation or re-creation. Reports from literary studies. Shaker, Aachen 1994, ISBN 3-86111-896-3 .
  • Thomas Mann : Death in Venice. Extended and bibliographically supplemented edition. Reclam, Stuttgart 2005, ISBN 3-15-008188-2 .
  • Ellen Neuhalfen: Death in Venice by Luchino Visconti. Booklet accompanying the film. Atlas Forum. Atlas-Film + AV, Duisburg 1987, ISBN 3-88932-894-6 .
  • Dieter Krusche, Jürgen Labenski : Reclam's film guide. 7th edition, Reclam, Stuttgart 1987, ISBN 3-15-010205-7 , p. 371
  • Tobias Kurwinkel: Apollonian outsiders. Configurations of Thomas Mann's "basic motif" in narrative texts and film adaptations of the early work. With an unpublished letter from Golo Mann about the making of the film adaptation “Der kleine Herr Friedemann”. Königshausen & Neumann, Würzburg 2012, ISBN 978-3-8260-4624-7 .
  • Rolf Günter Renner: Film adaptations of the works of Thomas Mann. In: Helmut Koopmann (Ed.): Thomas Mann Handbook. Fischer, Frankfurt am Main 2005, ISBN 3-596-16610-1 , pp. 799-822
  • Alain Sanzio, Paul-Louis Thirard: Mort à Venise. In: Luchino Visconti, cinéaste. Editions Persona, Paris 1984, pp. 116-125
  • Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, ISBN 978-3929470697 , pp. 188-195

Web links

Individual evidence

  1. ^ So Laurence Schifano: Luchino Visconti. Prince of the film. Casimir Katz Verlag, Gernsbach 1988, p. 428
  2. ↑ Quoted from: Peter Zander: Thomas Mann im Kino. Bertz and Fischer, Berlin 2005, p. 188.
  3. ^ Wolfram Schütte in: Luchino Visconti, Film 4 series, Carl Hanser Verlag, Munich 1985, p. 125
  4. ^ Walter Windisch-Laube: Thomas Mann and the music. Thomas-Mann-Handbuch, Fischer, Frankfurt 2005, p. 339.
  5. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 189.
  6. ^ Death in Venice. Retrieved May 7, 2019 .
  7. ^ A b The films of Dirk Bogarde, Margaret Hinxman, Susan d'Arcy, Literary Services & Production, London 1974, p. 189.
  8. ^ Matt Seaton: Bjorn Andresen talks to Matt Seaton . In: The Guardian . October 16, 2003, ISSN  0261-3077 ( theguardian.com [accessed May 7, 2019]).
  9. ↑ Thomas Mann: About the film. Collected works in thirteen volumes, Volume 10, Fischer, Frankfurt 1974, p. 898.
  10. ↑ Thomas Mann: Film and Novel. Collected works in thirteen volumes, volume 10, Fischer, Frankfurt 1974, p. 937.
  11. ↑ Quoted from: Peter Zander: Thomas Mann im Kino. Bertz and Fischer, Berlin 2005, p. 188.
  12. ^ Wolfram Schütte in: Luchino Visconti. Film 4 series, Carl Hanser Verlag, Munich 1985, pp. 118–119
  13. ↑ Thomas Mann: Death in Venice. Collected works in thirteen volumes, Volume 8, Fischer, Frankfurt 1974, p. 450.
  14. ↑ Thomas Mann: Death in Venice. Collected works in thirteen volumes, Volume 8, Fischer, Frankfurt 1974, pp. 459–462.
  15. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 99.
  16. ↑ Quoted from: Peter Zander: Thomas Mann im Kino. Bertz and Fischer, Berlin 2005, p. 92
  17. ↑ Thomas Mann: On myself. Collected works in thirteen volumes, Volume 8, Fischer, Frankfurt 1974, p. 148.
  18. ↑ Thomas Mann: On myself. Collected works in thirteen volumes, Volume 8, Fischer, Frankfurt 1974, p. 149.
  19. ^ So Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 92.
  20. ↑ Thomas Mann: Introduction to the ›Magic Mountain‹. Collected works in thirteen volumes, Volume 11, Fischer, Frankfurt 1980, p. 611.
  21. ^ Rolf G. Renner: Film adaptations. Thomas Mann Handbook, Fischer, Frankfurt 2005, p. 802.
  22. ↑ Thomas Mann: Doctor Faustus. Collected works in thirteen volumes, Volume 6, Fischer, Frankfurt 1974, p. 66.
  23. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 92.
  24. ↑ Thomas Mann: Doctor Faustus. Collected works in thirteen volumes, Volume 6, Fischer, Frankfurt 1974, p. 23.
  25. ^ Rolf G. Renner: Film adaptations. Thomas Mann Handbook, Fischer, Frankfurt 2005, p. 803.
  26. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 93.
  27. ↑ For example Alain Sanzio, Paul-Louis Thirard: Luchino Visconti, cinéaste. Editions Persona, Paris 1984, p. 116.
  28. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 92.
  29. ^ Rolf G. Renner: Film adaptations. Thomas Mann Handbook, Fischer, Frankfurt 2005, p. 801.
  30. ^ Wolfram Schütte in: Luchino Visconti. Film 4 series, Carl Hanser Verlag, Munich 1985, p. 118.
  31. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 188.
  32. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 188.
  33. ↑ Literarisches Quartett, Joseph Roth, Hiob , Zeno.org, complete edition of all 77 programs from 1988 to 2001, p. 2405.
  34. ↑ Witnesses of the Century. Golo Mann in conversation with Frank A. Meyer . ZDF / SRG 1982
  35. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, pp. 9-10.
  36. ^ Death in Venice (1971) - IMDb Release Dates. Retrieved May 7, 2019 .
  37. ^ Filmlexikon and Spiegel.de .
  38. ↑ Peter Zander: Thomas Mann in the cinema. Bertz and Fischer, Berlin 2005, p. 7.