All 7 entries tagged Luchino Visconti
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February 24, 2008
The Cinematographers of Neorealism and Beyond
For an introduction to neorealism please follow the link. More specific films are linked from the text where appropriate.
In his most recent edition to Visconti (200 3rd Ed ) Geoffrey Nowell-Smith makes a point of noting that his cinematic understanding has changed considerably since the first edition was written. He points out that the role of the cinematographer used not to have much importance with critics and reviewers. Often with critics the notion of the 'auteur' was commensurate with the idea of the great artist who turned up with a singular vision and told everybody else what to do to get it. This was always a romanticised notion of the great artist at best and certainly doesn't reflect the workings of early cultural and creative industries such as the workshops of the great Renaissance painters for example. The notion of auteur as somebody who is more of a team-leader with a creative vision which is formed out of an ongoing dialogical process usually with a team of chosen people opens up the issue of why were certain people chosen by the director and allows a viewer to assess more effectively how that person may have influenced the final outcome. The 'look' of a film or the 'feel' of a film often has a lot to do with the cinematographer and the relationship built up between her/ him and the director. This has probably recognised more in terms of the well known cinematographers for the key films of the French New Wave and in the UK- the name of Walter Lassally is a recognised part of the British New Wave - than it has been in Italian neorealism. Shiel makes brief reference to this in his recent work Rebuliding the Cinematic City (2006), and critics such as Bacon (1998) note the that there were three cinematographers working on Senso because G. R. Aldo died in a car crash. This leads to a very brief discussion about the look of the film. There is no reference in the index of Bondanella (2003) to any of the leading cinematographers nor is there in Marcus 1986. This absence at the heart of many of the leading works of neorealism and Italian cinema is important. This brief entry is small attempt to redress the balance and also point the way to an area of film studies which needs more consistent attention.
Cinematographers of Neorealism and Beyond
The listings are designed to emphasise where particular cinematographers worked with canonical Italian directors who were originally associated with neorealism or in the case of Lina Wertmuller became a member of the newer generation of directors who have been classified as 'arthouse'. Full listings can be accessed at the websites in the webliography.
G. R. Aldo
Key Italian films are in bold
- 1947 La terra trema (Visconti)
- 1950 Miracolo a Milano (Miracle in Milan) (De Sica)
- 1952 Umberto D (De Sica)
- 1953 Stazione Termini (Indiscretion of an American Wife) (De Sica)
- 1954 Senso (Visconti)
As a stills photographer Aldo also worked with directors such as Cocteau on Beauty and the Beast (See IMDB)
Publications on Aldo
Cinema Nuovo (Turin), 1 December 1953
Bianco e Nero (Rome), December 1953
1944 Ultimo amore (Luigi Chiarini)
1945 Paisà/Paisan (Roberto Rossellini) 6 seg; 125m & 134m
1946 Il duomo di Milano (Alessandro Blasetti)
1946 Caccia tragica/The Tragic Hunt/The Tragic Pursuit (Giuseppe De Santis)
1948 Riso amaro/Bitter Rice (Giuseppe De Santis)
1949 Stromboli [, terra di Dio] (Roberto Rossellini)
1950 Luci del varietà/Lights of Variety/Variety Lights (Alberto Lattuada & Federico Fellini)
1950 Francesco, giullare di Dio/The Flowers of St. Francis/Francis, God's Jester (Roberto Rossellini)
1951 Anna (Alberto Lattuada)
1952 Roma ore 11/Rome 11:00 (Giuseppe De Santis)
1952 Siamo donne/We, the Women/Of Life and Love (seg 'Emma Danieli e Anna Amendola' dir by Alfredo Guarini & 'Il pollo/Ingrid Bergman' dir by Roberto Rossellini)
1952 I vitelloni/The Young and the Passionate (Federico Fellini)
1953 Un marito per Anna Zaccheo/A Husband for Anna (Giuseppe De Santis)
1953 La strada (Federico Fellini)
1954 Giorni d'amore/Days of Love (Giuseppe De Santis)
1954 L'oro di Napoli/The Gold of Naples (Vittorio De Sica)
1955 Il bidone/The Swindle/The Swindlers (Federico Fellini)
1955 La fortuna di essere donna/Lucky to Be a Woman/What a Woman! (Alessandro Blasetti)
1956 Guendalina (Alberto Lattuada)
- 1942 L'uomo dalla croce/The Man with the Cross (Roberto Rossellini)
- 1957 Le notti bianche/White Nights (Luchino Visconti)
- 1958 Anna di Brooklyn/Anna of Brooklyn/Fast and Sexy (Vittorio De Sica & Carlo Lastricati)
- 1960 Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti) b&w
- 1961 Boccaccio '70 [seg 'Il lavoro/The Job' dir by Luchino Visconti] c; 4 seg; other ph: Otello Martelli & Armando Nannuzzi
- 1962 Il gattopardo/The Leopard (Luchino Visconti)
- 1963 Ieri, oggi, domani/Yesterday, Today and Tomorrow (Vittorio De Sica)
- 1966 Le streghe/The Witches (seg 'Le strega bruciata viva' dir by Luchino Visconti, 'Una sera come le altre' dir by Vittorio De Sica & 'La terra vista dalla luna' dir by Pier Paolo Pasolini)
- 1967 Lo straniero/The Stranger (Luchino Visconti)
- 1967 Histoires extraordinaires/Spirits of the Dead/Tales of Mystery and Imagination (seg 'Toby Dammit' dir by Federico Fellini)
- 1968 Fellini Satyricon (Federico Fellini)
- 1969 I girasoli/Sunflower (Vittorio De Sica)
- 1971 Fellini's Roma (Federico Fellini)
- 1972 Film d'amore e d'anarchia, ovvero 'stamattina alle 10 in Via dei Fiori, nella nota casa di tolleranza...'/ and Anarchy (Lina Wertmüller)
- 1973 Amarcord [Federico Fellini]
- 1973 Tutto a posto e niente in ordine/All Screwed Up/Everything Ready, Nothing Works (Lina Wertmüller)
- (1959) India Bhumi
- 1959)"India vista da Rossellini, L'" (mini) TV mini-series
- (1958)Tempesta, La
- (1957) Notti di Cabiria, Le (Cabiria)
- 1954) Dov'è la libertà...? (Where Is Freedom?)
- (1953)Anni facili (Easy Years )
- (1953) Lupa, La
- (1952)Europa '51
- (1949)Mulino del Po, Il (The Mill on the Po)
- (1948) Senza pietà (Without Pity)
- (1948)Amore, L' (segment "Miracolo, Il")
February 09, 2008
Senso, 1954. Dir. Luchino Visconti
(Original run-time 121 minutes)
Links to Visconti's historical films The Leopard and The Damned
Senso was the first feature film Visconti made after Bellissima (1951). Already Bellissima had been accused of breaking with the precepts of neorealism but this was nothing to the criticism which Senso received. Senso has been seen by noted critics such as Richard Dyer and Geoffrey Nowell-Smith as extremely important film. Despite this the film was beaten by the more commercially 'art' oriented La Strada at the Venice Film Festival that year. Richard Dyer voted for it as a top ten critics choice film for the BFI and Nowell-Smith (2003) when introducing the film comments that:
... Senso is beyond question one of the greatest, and also the most Viscontian, of all Visconti's films.
As with much of Visconti's work there was a battle with the censors. The film was a critique of the dominant discourse and creation of the triumphalists myths surrounding the Risorgimento fight for unification of Italy. A key scene which would have helped show that the Risorgimento was a also a popular movement was cut. As a result as Marcus (1986) notes this "succeeded in removing the film's true revolutionary sting". The currently available Optimum DVD is only 116 minutes long whilst the original running time of the film was 121 minutes long. The original version shown in the UK was little more than 90 minutes long! In order for the film to be able to represent its main thrust the missing scenes are crying out for restoration.
Senso is the first of three films which deal with European nationalism very directly the others being The Leopard (1963), and The Damned (1969). By linking these three films together based upon analysing their underlying theme of European nationalism and its effects upon the social structure of modernity it is beginning to read Visconti's ouevre differetly to Bacon (1998) for example who categorises Senso along with The Leopard as straightforwardly films of the Risorgimento. Whilst this is self-evidently the case Visconti was too powerful a thinker to stop there. Much of the rest of his work was concerned with various elements of exposing the various power structures within society and there was a continual level of conflict and tension expressed between the nation state and the rise and decline of older empires and newer governmental forms.
Senso explores the myth underlying the unification stories of the Risorgimento in the years leading to the the removal of the Austrian Empire from its control of much of Northern Italy. The Leopard goes back to a slightly earlier time in 1860 when the Bourbons are ejected from Sicily. In 1866 when the events of Senso are taking place a revolt in Palermo is crushed on orders from the government of Italy based at the time in Turin. In Senso the potential for a popular movement is effectively denied by those in command of the Italian forces although a key scene is censored which clearly shows this. Both these films show the complicity, compromises and collusion and processes of hegemony taking place amongst the fractured ruling elites. Nationalism can still be seen as progressive in the Marxist sense of modernity ushering in a more dynamic social order. By comparison The Damned can be seen as a closure on Visconti's artistic explorations into European nationalism which as I argue elsewhere can clearly be seen as Visconti's critique of the limits of nationalism and the dead end which it ultimately leads to at a structural level within society.
The plot is very different from the book which it is nominally based upon by the writer Boito. The opening scene takes place in La Fenice the Opera House in Venice in 1866 just a few months before the Veneto is freed from the control of the Austrian Empire.
The opera being enacted is Verdi's Il trovatore where the third act is coming to a climax. The mounting tension on stage and the the declarations of being prepared to fight to the death are enhanced by the chorous shouting All 'armi, All 'armi (to arms, to arms). This defiance is mirrored in the audience as the audience is shown bundles of leaflets being passed forwards to those wanting to resist the Austrian occupation.
Suddenly a rain of green, white and red leaflets flutter down from the balconies onto the Austrian officers who are sitting in the best stalls. Small sprays of flowers of the same national colours are thrown or warn by the women on their dresses. an Austrian officer makes a disparaging remark about that was the way the Italians like to resist occupations- through bunches of flowers and leaflets. He is challenged to a duel by an Italian. The officer is Franz and the Italian spectator Ussoni who is a leader of the underground resistance.
In the opening scene at La Fenice the Austrian officers have the best seats at the opera whilst the Italian elites are at the back and in the balconies. They are soon to rain down leaflets on the unsuspecting Austrians
The Marquis Ussoni is the cousin of Livia the Countess of Serpieri who is in a loveless marriage to a man much older than her. Serpieri it turns out is just an aristocratic opportunist happy to change sides from Austria to Italy when it becomes increasingly clear who is going to win control of the Veneto. Franz uses his position to ensure that Ussoni rather than fighting a duel is exiled for Franz has no interest in duelling: like Livia he prefers his melodrama onstage rather than offstage.
Livia is with Ussoni at La Fenice after he has made a challenge to a duel to Franz. Here he is looking for a way out. Livia has told him how foolish he was to raise his head above the parapet. Here it is obvious that Livia's personal concerns are not reflected in Ussoni's mindset. Any desire is inevitably a chaste one.
Livia has professed an interest in meeting Franz who has a reputation for being very handsome, ostensibly this meeting is to help out Ussoni but one can sense an ambivalence. Soon after Ussoni is exiled Livia and Franz become lovers. However the war is coming increasingly nearer. Franz is posted to the front and the Count Serpieri takes Livia to their summer villa to avoid the fighting. Before they leave Livia is summoned to an address where she meets up with Ussoni who is planning an uprising. Ussoni charges her with the safekeeping of some funds in order to supply the rebels at a later date.
A while later Franz breaks into the villa and seeks refuge with Livia who hides him. The discussion is moved around to the possibilities of Franz being able to bribe a doctor to get himself discharged from the army. To do this Livia betrays the nationalist cause and gives Franz the money and jewels intended for the rebels. In the process of this the audience is shown what Livia cannot see; the expression on Franz's face is one of pure opportunism. He has enjoyed Livia, but love isn't part of the equation for him.
Franz then manages to bribe his way out of the army and sends a note to Livia. Livia can't bear to be emotionally imprisoned in her marriage any longer and makes a dangerous journey to find Franz. When she arrives she is greeted by a decadent and dissolute Franz who is drunk and with a prostitute. Franz regales her with unpleasantries forcing her to leave. Livia reports him for desertion to the Austrian army. Franz is arrested and summarily executed. The last we see of Livia is her slowly walking in the shadows shouting Franz out loud.
A Gramscian History of the Risorgimento
The plot outline tells us little of the importance of the film which seeks to historicize the Risorgimento in an entirely different way to the official hisories of the period. this also opened up the possibility for audiences to mount a critique of the postwar situation in Italy which had failed to enact any genuine transformation in the class relationships of society. With its main target audience being Italians often with a lot of basic knowledge about the Risorgimento this was an ambitious film. The film was a target of the censors and had many critics from both the right and the left of the political spectrum. Whilst the criticisms from the Right were to be expected the ones from the left showed up the limitations of the left-wing imaginary of the time.
Key critical opponents of the film were Zavattini and Chiarini who took a fundamentalist approach to the neorealist ethic. For them Senso was a total betrayal of neorealism as it eschewed the harsh moments of the present in a return to the past. As Marcus notes:
...neorealism constitutes the absolute standard against which Senso is measured and found wanting, by Chiarini and Zavattini who fault Visconti for abandoning the modern subject matter and stylistic transparency of the postwar school. (Marcus 1986 p 171)
The left-wing critic Aristarco on the other hand defended the film arguing that Senso represented an extension and evolution of neorealism. Rather than negring neorealism it marked the return to realism proper in the 19th century sense of the term. In reality Aristarco is effectively accusing neorealism of being a surface aesthetic rather than an aesthetic which is probing below the surface to explore the social forces which shape society throwing up various social forms which can be either recorded or analysed. This was a return of the old argument between the French Naturalists (Zola for example) and the Realists.
Chiarini however took the position that neorealism's immediacy contained a moral imperative which raised public consciousness about social conditions and could help formulate policy change. Both neorealism and the sense of postwar social solidarity which welcomed Rome Open City(1945 ) was long since past. The reality was that neorealist films had frequently failed in the box office and failed therefore to capture the popular imagination. In the meantime a right-wing government supported by the Americans and the British and the promise of Marshall Aid had been installed some time before the release of Senso. Chiarini and Zavattini were seemingly driven by a head in the sand idealism.
It is here that Visconti's Marxism comes to the fore because Senso in its very essence is a recognition of the importance of history and who controls and owns history. History for Visconti was a powerufl ideological tool in the control of the intellectual elites. It was Gramsci's recognition of the importance of creating working class or organic intellectuals who could challenge the hegemonic ideas of the elites which was one of the factors driving Visconti. At the level of aesthetics and how it worked with politics he had been increasingly convinced by the Lukacsian arguments about the realist and its role in exposing class relations.
Visconti's relationship to Lukacsian thought is crucial when it comes to the construction of his characters. Here it is important to develop a 'type'. Lovell (1980) notes that :
The most appropriate type of character, for purposes of typicality, is neither the statistical average nor the great hero, but an unexceptional individual caught at the centre of conflicting social and political forces. (Lovell, 1980 p 71)
Lovell cites Lukacs directly and whilst we can think about this in relation to the novel it seems pertinent to suggest that this is the problematic that Visconti was wrestling with when he reinvents the character of Livia in quite a different way to the character originally envisaged by Boito who wouldn't fit the 'type' very well:
The problem is to find a central figure in whose life all the important extremes in the world of the novel converge and around whom a complete world with all its vital contradictions can be organised. (Lukacs: Writer and Critic cited Lovell 1980 p 71)
The Role of Women in the Age of Bourgeois Nationalism
Feminist historians have noted that in the 19th century rise of nationalism women were ususally excluded from the bid for more democratic rights based upon the nation state for those who could be classed as citizens. Women in the rise of Greek nationalism were largely chattels and baby-bearers of potential new citizens (women got the right to vote in 1952 in Greece and in Italy in 1945). Of course in the 19th century no women had a vote anywhere except New Zealand in 1893.
Franz (Farley Granger) meets Livia (Allida Valli) for the first time at La Fenice. Livia wishes to negotiate with him over thefate of Ussoni who has challenged him to a duel
Bearing this in mind it is worth thinking about this in relation to the character of Livia the Countess. Livia by being a woman is largely sidelined from the great political and social causes of the day. She is in a typical arranged aristocratic marriage to a much older man, which is loveless and even childless. As a woman she is little more than a chattel, after all the progressive nationalist movement of the day says nothing about the position of women in society, why should she care? Rather she is at the mercy of emotional whims. Her admiration of her cousin might well be sexual as much as it is based upon someone who is an ideological doer. But at heart it is an nationalist ideology which effects her little. She has no great antipathy towards Austrians otherwise why after the protest in the opera house would she wish to meet a handsome Austrian officer, and with her husband she is continually in the company of Austrians. She is part of a more internationalist aristocracy.
On their first meeting Franz quickly establishes that he isn't an idealogue, melodrama on the stage is best kept where it is not extended into real life he points out. Livia is quickly attracted to him becuase of his easy going ways and his attentiveness to her. By comparison the only times we see Ussoni with her he is proclaiming in a melodramatic way that it is the nation and if necessary death which must come first. Franz is a romantic of sorts but not a Byronic one, for courtly love as Marcus points out has a strong code in which the male must:
...be a warrior as well as a suitor, spurred onto deeds of military prowess by the desire to please his lady. (Marcus 1986 p 177)
In this sense there is a sense of decline and decay between the lovers and when Franz exempts himself from the virile world of the military he loses all the things in life which structure his identity, romantic love cannot exist outside of time and reality it is based in a materiality which is income based and class based. Franz has lost both. Unlike Boito's original novella which is an 'ahistorical love story' (Marcus 1986), Visconti's version lives up to Lukacs' definitions of the historical novel where suggests Marcus:
the personal destinies of a number of human beings coincide and interweave within the determining context of an historical crisis. (Marcus, 1986 p 178)
The issue of gender and nationalism has been effectively highlighted in this this film although perhaps at an unconscious level. Livia as a synechdoche for women as well as a de facto member of the aristocracy through father and then husband is counterpoised to the the nationalism of Ussoni who fits in with the description of nationalism provided by Anthony Smith:
The concept of nation, then, is not only an abstraction and invention, as is so often claimed. It is also felt, and felt passionately, as something very real, a concrete community, in which we may find some assurance of our own identity and even, through our descendents, of our immortality. But transcending death is what the world religions sought in their different ways; so, we may ask, does this not make of nationalism some latterday religion in secular disguise? (Smith 1998p 140)
Compare Smith's analysis with the comments of Ussoni in the scene where he unceremoniously places the funds raised for the partisans into Livia's care. Livia, please note, wasn't overkeen but wasn't given an opportunity to refuse:
...we must forget ourselves...Italy's at war...It's our war...our Revolution
Above. After breaking into the country villa Franz is opportunistically throwing himself on Livia's sense of love and fear for him.
Livia is torn between a betrayal of trust and her own individual desires, for events have unfurled in a way which she could not have imagined. But in the end she undergoes little in the way of personal risk for she is a member of the aristocracy and she is allowed to pass by both sides to reach her lover. Franz has an historical premonition of the passing of the Austrian elite to which he belongs, also a part of the Austro-Hungarian empire. By comparison Livia effectively survives the chain of events because we are always given a voice over. We can assume that she goes back to her husband chastened by the course of events at least at the level of the emotions. Serpieri of course has switched sides, at no time is the position of Livia fundamentally threatened in the film. Her romantic gesture of running away to her lover was flung back in her face. She is embedded in a social structure as much as Franz. Marcus points this out very effectively:
...the primacy of the Livia-Franz plot over the Livia-Ussoni one constitutes a Gramscian criticism of the Risorgimento in melodramatic terms. (Marcus 1986 p 185)
In Marcus' estimate Livia is introduced to the audience 'on a moral pedestal so lofty that her decline occasions surprise as well as distaste'. (Marcus p 181). However on reading the film more closely this is perhaps being overly judgemental of Livia for as stated earlier her position is a weak one, she is dependent upon men and is married to one who is uninterested in her. Marcus here seems to be almost identifying with the nationalist cause because Livia really her 'fall' only comes when she uses the monies for her own purposes. But as a woman she has no money of her own.
When Livia asks for an introduction to the officer on the grounds of the fact that all the young women are talking about Franz. At this point given that she has kissed a nationalist bouquet we can imagine that this is a cover in order to get her cousin out of trouble but we could take it as a sign of ambivalence. Ussoni is told off by her for being entirely foolhardy jeopardising his own position and others by his over-reaction to a trite insult. In contradisinction to Anthony Smith's almost impassioned plea Livia doesn't feel the nationalism of her cousin passionately at all, it is the attraction to her cousin which is the dominant concern as Nowell-Smith makes clear:
Her (Livia's) devotion to the cause is personal, and she betrays it becuase sexual passion has more power over her than devoted admiration and friendship. But her attraction to Franz has its own social motivation. Through it she realises a nostalgic longing for the lover to whom as a member of her class she was entitled, but never had. Against this patriotism has nothing to offer......It is not a cause which can fully satisfy her aspirations or appease her regrets. (Nowell-Smith, 2003 p 70)
Here we see a marked difference in approach between Nowell-Smith and Marcus. Livia is rebellious but there is nowhere to go she cannot escape history or society as an isolated individual. As the film progresses her uneasy position between all the conflicting male elements which is apparent in the opening theatre scene becomes more apparent. Gradually she becomes more and more isolated with the acardian villa leaving her only with the complicit maid to support her. Stealing the money means that she will become totally isolated from the partisan struggle and physically she will become isolated from her lover. In this scene she is faced with the core contradiction which the film is building up to: she must sacrifice herself for the nationalist cause and betray her lover who it appears is the only person ever to have brought her true joy. The alternative is that she must sacrifice Franz to a likely death or serious injury on the battlefield. It is here that Visconti turns to melodrama in ordr to highlight the importance of the scene, there can be no turning back from here: which must she reject?
Nowell-Smith importantly points out that one cannot legitimately equate the position of Franz with that of Livia. Franz knows that his Austrian Empire is teetering and on the wane: his tirade against Livia is as much a bitter recognition of this passing, a Byronism turned sour suggests Nowell-Smith. Franz is genuinely a decadent he argues. Nowell-Smith points out that the poitiions of Livia and Franz aren't comparable, however his comment about Livia having 'a freedom to abuse' rather goes against the structured role as a woman caught between patriarchal forces:
He is quite clearly seen as a representative of a dying class. she represents nothing so simple. Her character is all her own, and the conflicting external determinations that work on her are not sufficient to fix her in any mould. At least she has the freedom to abuse, which Franz never has. (Nowell-Smith 2003 p 69)
The representation of women in Visconti's films is seriously underwritten: instead critics focus on Visconti's homosexuality and his aristoctratic background. It would of course be foolish to ignore Visconti's homosexuality and there is little doubt that it played a role in his filming and also in his understandings of sexual politics in general, an area in which more work needs to be done. Nowell-Smith (2003 p 214) points out that almost all of his films are about the family and that only in Bellissima does the family emerge in strengthened form. Senso is one of those films which can be read as a critique of the bourgeois family.
Visconti's representations of women are extremely important. On the grounds that critics have endlessly discussed Visconti's aristocratic background one might well ascribe his representations of women to his relationship with his mother which was a very positive one. His mother came from a bourgeois industrialist's background and marriage to Visconti's father brought the wealth necessary for him to carry on with his aristocratic ways including his philandering. It would appear that Visconti's mother was a vehicle for the transfer of money just as Angelica was in The Leopard.
Visconti fequently represents prostitutes and prostitution. For Visconti sexual relations frequently centre around money and power. Just as Livia gets to hold the purse strings -albeit temporarily- in Senso so does Giovanna in Ossessione. Franz in Senso and Gino in Ossessione both then turn to prostitutes to assert their masculinity and illusory control. But the women are punished for breaking the male codes. Visconti is clear that under capitalist society women are extremly repressed. Certainly prostitution is seen as something which women have little choice but to turn to occasionally, as did Giovanna before she married Bragana in Ossessione. There is a Marxist analysis of family relationships which runs through Visconti's work as well as more straightforward themes of class and history, nationalism and its historically determined failures. It is a theme which will be returned to in the future.
Demythologising the Risorgimento
A core preferred meaning for Visconti's Senso was to demythologise the Risorgimento and to draw parallels to present day Italy. Several projected scenes were censored because Visconti was going far too close to the bone of the official versions of history. Coming at a time when the Italian right had managed to reimpose their political control an influential film-maker such as Visconti wasn't going to be given much leeway. Whilst the position of the Serpieris explains the opportunism of many of the aristocrats as well as some of the issues around the relationship of women to the nationalist project it is in the figure of Ussoni that many of the most poignant political issues revolve around.
A question posed by Nowell-Smith was whether Visconti was posing a double question, suggesting on the one hand that the attempts to change Italian post-war society had failed in a similar way to those of the popular movement of mythology around the Risorgimento. An alternative take was even more radical: whether the failure of the Risorgimento to install a proper popular government which concerned all the people was a direct result of the ability of the new and old elites to create a hegemonic position which ensured that the working and peasant classes were largely left in the same poverty stricken position. The position of poverty is amply represented by later films such as Olmi's Tree of Wooden Clogs (1978) set in 1898, and also Bertollucci's 1900 (1976).
In Senso the position of the peasantry is made abundantly clear during the battle scenes based upon the Battle of Custoza. Whilst the peasants are going about their business transporting what appears to be hay on their carts the Italian army is racing about, forcing gun carriages past the carts of the peasants who are oblivious to the proceedings. It is a clear denial of the myth of a popular movement espousing all members of the 'community' who are according to Smith impassioned by the 'very real concrete community'. It was a point that Aristarco made in Visconti's defence as Bacon (1998) points out:
Politics of power continue but it doesn't bother them. It is as if they were saying: ' you do what you want gentlemen, it doesn't concern us. It's not our war.' (Aristarco in an interview with Bacon. Bacon 1998 p 81)
Aesthetic objections to Senso and also Visconti's thorough way of working
But the Gramscian argument fails to address the most troublesome objection to Senso - that of its spectacular elements, which ally it with the more retrograde examples of prewar production... the criticism is hard to refute because it rest on the assumption that aesthetic form determines thematic content and that a luxurious , self-congratulatory style full of extracinematic conventions will necessarily compromise any aspirations the artis may have to revolutionary meaning. Marcus 1986 p 187)
Marcus notes that despite the scepticism from many on the left side of the critical establishment Visconti's insistence that the mise en scene must be appropriate to the position of the class being represented eventually allowed a better critical reception for a newer generation of film makers such as Wertmuller, Bertollucci and Cavani.
It is difficult to think of any director who has had so many complaints about the expense and details of the sets. Whilst those who tried to adhere more strictly to what they understood as the fundamentals of neorealism which was closer to an ethnographic mode of filming the poor, Visconti had much greater artistic ambitions. Those who took on board Brechtian Marxist ideas would also have been less concerned with the verisimilitude of the sets for Brechtianism is a deliberately ascetic aesthetic approach. Visconti's Marxism based upon Lukacsian realism was concerned with verisimilitude in its mise en scene indeed the precision demanded by Visconti in his sets was legendary, whether it was the dinner plates in The Leopard or the parquet flooring in The Damned. to try and get away from this sour and fruitless so-called critique of Visconti it is worth dwelling for a moment on his aesthetics and the poetics of his oeuvre.
Viscontian Aesthetics & Poetics
It is isn't popular to discuss the poetics of cinema or even its aesthetics yet these are fundamental aspects of cinema. Some aspects of Visconti's can be equated to that of Angelopoulos that other great film maker who has embedded his film making as a conscious effort to historicize and thus politicize the present, yet just as Visconti began to do later in his life so Angelopoulos became more distanced from politics. Later works in both directors take up elements of nostalgia. Here it is important to come to some definition of nostalgia for Visconti is frequently accused of being nostalgic about former aristocratic times.
In an interview with Andrew Horton "What do our Souls Seek?" Angelopoulos explians how one night he was in the same building as Tarkovsky who was shooting the film Nostalgia at the time. Tarkovsky argued that it was a Russian word but in fact it comes from the Greek 'homecoming'. Angelopoulos then puts the notion of 'home' within a national context nevertheless he points out that home:
...is a place where you feel at one with yourself and the cosmos. It is not necessarily a real spot that is here or there. (Angelopoulos in Horton 1997 p 106)
Although Angelopoulos is usually associated with the modernism of Antonioni in particular the link to nostalgia is interesting:
...almost all the films, and the later ones most particularly, are suffused with a nostalgia for the family as an institution. (Nowell-Smith, 2003 p 214)
Although the historical projects are different for Visconti explores particularly the mechanisms of history in a period of transition on the 1860s the search for 'home' is crucial for Visconti's leading characters live in a world of the unheimlich. Visconti is not at home in life any more than his characters are. Livia in Senso is plainly not at 'home'. In the conversation in the bedroom of the Venetian boarding house at the begining of the relationship Livia wishes to step outside time which is very significant:
In their different ways, both Franz and Livia have attempted to step outside of history and to blind themselves morally, either by decision or deception, to the way they exploit other people in dedicating themselves to hedonism on his part, to romantic fantasies on hers. (Bacon, 1998 p 80)
History, Visconti seems to be saying, is a motor of change which is impossible to evade. Frequently that change is very limited despite all the underlying political idealism represented in Senso by Ussoni. In Ludwig, Ludwig's homosexuality combined with the duties and expectations of kingship place him in an 'unhomely' position. Perhaps a key difference between Visconti's aesthetics and that of Angelopoulos is that the latter anchors much of his work within Greek culture particularly upon the myth of Odysseus. This gives his work a more spatial and geographical grounding than Visconti's which has far more interior work. The return of the old Communist in the Voyage to Cythera (1983) and the lack of recognition for him within a society which should have been 'home' plays with history in a different way but the situation is 'unhomely'. Visconti's aesthetic is more Proustian and Angelopoulos' more Brechtian in the ways they deal with time both also have an approach which is inevitably suffused with their own national cultures.
The richness of the Renaissance and the painterliness of Visconti's work is in sharp contradstinction to the distancing of Angelopoulos' camerawork and the highly stylised set-pieces which make the latter's work 'modernist' rather than 'realist', yet both are deeply engaged with historical processes. Just as Senso was a critical attack upon the canon of Risorgimento history so Travelling Players from Angelopoulos was a 'fundamental revision of Greek "official" history...' Georgakas 1997 p 29-30). Whilst the aesthetic forms are quite different, both directors chose to embed within their form an historicisation which opened up dominant discourses and also made the audience work. Angelopoulos seems to bridge the gap between Visconti's sense of aesthetics which are far more implicit compared to Godard's very explicit approach noted by Nowell-Smith again. Visconti chose to subvert the well established forms of melodrama and opera and in doing so was challenging well established audiences familiar with much of the content, for it must be remembered that in Italy even Gramsci recognised that opera played a very different role in the formation of a 'national popular' than it had in other countries. The petulant criticisms of Visconti from the left failed to understand that art has many ways of challenging dominant norms not least through the handling of history. Visconti's contribution to embedding theories of history within his cinema has yet to be fully recognised just as his determination to combine realism with other older aesthetic forms such as melodrama great works of art which perhaps will come to be appreciated above those contributions of his contempories such as Fellini and Antonioni who will perhaps come to be seen as very much film makers of their time.
In both aesthetic routes there seems to be a phenomenology of vision at work which can make many critics of all persuasions uncomfortable:
We are not usually aware that an unconscious element of touch is unavoidably concealed in vision; as we look, the eye touches, and before we even see an object we have already touched it. 'Through vision, we touch the stars and the sun',  as Merleau-Ponty writes. Touch is the unconsciousness of vision, and this hidden tactile experience determines the sensuous quality of the perceived object, and mediates messages of invitation or rejection, courtesy or hostility. (The Architectural Review | Date: 5/1/2000 | Author: Pallasmaa, Juhani)
Interestingly Pallasmaa has completed a book on cinema and architecture The Architecture of Image: Existential Space in Cinema which includes chapters on the work of Tarkovsky and Antonioni - Having only had a very brief look at it it is something to return to. Through them we can examine the work of Angelopoulos in relation to history and also think about the existential meaning of the mise en scene in the work of Visconti for we must remember Visconti too has exterior spaces the dry dustiness of Sicily, the frozen alps and the arcadian pastoralism of northern Italy in summer. Architecture too is redolent with meaning in the work of Visconti. This could prove to be a fascinating area of comparison in terms of the social ontology of the characters who people the films. This phenomenology can also be thought of in terms of metaphor when we start to talk of "the feel" of a film or having 'the touch' of a certain director. Here we re-enter the debate about the auteur but that is for another day.
Visconti is arguably the film director who has treated history and the theory of history along with a discourse that recognises history to be an intellectual area of competing ideologies. Even Angelopoulos doesn't seem to have done that. Senso was the first of Visconti's great trilogy of films relating to history and arguably we can add his Ludwig into this a fourth historical film. Certainly all the four film: Senso, The Leopard, The Damned and Ludwig use family relations as a synechdoche for other features of societies in change. Whilst the treament may be a little different between them being more of a Verdian nature and moving towards a Chekovian one suggests Bacon (1998 pp 60-62).
This piece argues that there are great implicit depths to Visconti's work and one which I have started to tease out here is in relation to the position of women in Visconti's films and in particular there relationship to the 'great' events unfurling around them. Livia in Senso understands that nationalism will really make little difference to her. This piece also recognises the importance of realism in its Lukacian sense to Visconti's project which is one designed with an Italian audience very much in mind. The piece also cross -references Visconti's handling of history to that of Angelopoulos another Mediterranean film maker who also started his film worl in France as did Visconti. There are some similarities between the two in terms of long films and the slowness of pace use of longer shots and longer takes, yet for all that there are large aesthetic differences between the two. Both in their own ways bring out the materiality of the surroundings, both are renowned perfectionists as well. There is certainly more room for comparison here however currently this will be difficult as most of Angelopoulos' films are currently unavailable in the UK.
Of course there is much more that can be said about this film. For the interested reader Nowell-Smith, Marcus and Bacon all have differetn insights into the film and all come as recommneded reading. There is also a chapter on Senso in the Wallflower Press "The Cinema of Italy" which is a useful first stop.
Notes on the Cinematography of Senso
Senso is unusual -to say the least- in that three cinematographers were involved. Nowell-Smith (2003 p 78) provides a full explanation. G.R. Aldo (Real Name Aldo Graziati) was Visconti's chosen cinematographer; sadly he died in a car crash before the films completion. Nowell-Smith notes that according to the published screenplay Aldo shot all the scenes in and around the Villa Valmara as well as the battle scenes and the retreat.
Robert Krasker was then hired. Krasker shot most of the rest of the film inluding the opening scene at La Fenice, most Venice exteriors, interiors of the Franz's lodgings, Livia's house, Ussoni's house and the home of the Austrian General in Venice.
Rotunno who had been the camera operator shot the executions scenes and 'a few bits and bobs'.
Nowell-Smith also notes that these cinematographers all had different ways of working resulting in a different feel. Nowell-Smith defends Krasker's work in his shooting of La Fenice and the opening scenes suggesting that Krasker achieved exactly the effect needed by Visconti for these scenes:
Indeed, the use of different lighting effects, due to different cinematographers but co-ordinated by Visconti himself, is essential to the formal articulation of the film. Particular sequences and locations each have a tonality of their own, inspired often by different styles and genres of nineteenth-century painting.
Theses aspects of mise en scene in Visconti's work are incredibly important to in dpeth analysis of his multi-layered approach to meaning. Ivo Blom an art historian is currently working on many aspects of painting and its relationship to Visconti's films.
It is particularly worth noting that both:
- Franco Rosi
- Franco Zeffirelli
were assistants on this film just as they had both been Visconti's assistants on La Terra Trema (1948)
- GR Aldo
- Robert Krasker
- Guiseppe Rotunno. (Rotunno was to became Visconti's main cinematographer in the future).
- Massimo Girotti
- Heinz Moog
- Rina Morelli
- Marcella Mariani
- Christian Marquand
- Luchino Visconti
- Suso Cecchi D'Amico
- Carlo Alianello
- Giorgio Bassani
- Paul Bowles
- Tennessee Williams
Links to Visconti's historical films The Leopard and the damned
The entries below represent the best in English I could find on a Google search down to page 30. Very disappointing. It is clearly an underwritten and under watched film!
Luchino Visconti and the Italian Cinema Gianfranco Poggi Film Quarterly, Vol. 13, No. 3 (Spring, 1960), pp. 11-22. (JSTOR article needing the readies or instiutional access)
Luchino Visconti's "Musicism" Noemi Premuda International Review of the Aesthetics and Sociology of Music, Vol. 26, No. 2 (Dec., 1995), pp. 189-210. Another JSTORarticle with no buy option so instituional access required.
Bacon, Henry.1998. Visconti: Explorations of Beauty and Decay. Cambridge: CUP
Horton Andrew. 1997."What do our Souls Seek: An interview with Theo Angelopoulos". In Horton Andrew E. 1997. The Last Modernist: The Films of Theo Angelopoulos. Trowbridge: Ficks Books
Lovell, Terry. 1980. Pictures of Reality. London: British Film Institute
Marcus, Millicent: "Visconti's Senso The Risorgimento According to Gramsci". In Marcus, 1986. Italian Film in the Light of Neorealism. Princeton: Princeton University Press
Nowell-Smith, Geoffrey. 2003 3rd RE. Luchino Visconti. London: British Film Institute
Sellors, C. Paul. 2004. "Senso". In Bertellini, Giorgio ed,, 2004. The Cinema of Italy. London Wallflower
January 30, 2008
Italian Directors Hub Page
I have decided to open this page however currently most of the entries below will not be available for visitors. As part of the development plan director pages will be made available as soon as a Google search down to page 20 has been conducted and sites deemed useful entered. Filmographies will also need to be put in place. It has been decided to proceed like this as links embedded in the chronology of European Films page are being redirected to National director pages as they are developed. Apologies for any disappointments and inconveniences in the meantime. Provided it manages to service some needs then it seems to be worth keeping it 'as a work in progress'
Antonioni, Michelangelo (Now Open)
De Santis, Guiseppe (This page is open for a filmography / webliography / bibliography with film links to kinoeye reviews when possible)
Moretti Nanni (Currently weblinks available)
Risi, Dino (Now open)
Rossellini, Roberto (Now open for bibliography and weblinks. Main overview still under construction)
Taviani, Paolo & Vittorio
Visconti, Luchino (Currently available)
December 30, 2007
Ludwig,1973, Italy. dir Luchino Visconti
This magnificent film has recently been released in its four hour original version on DVD. There is currently no time available to write a proper article on the film which is on the never ending 'to do' list. This entry thus constitutes a search of Google at the end of 2007 down to page 25 for good quality entries on Visconti's Ludwig. As with many of his other films there is a remarkable paucity of useful material. Thankfully the Google project of being able to view parts of books online has come to the rescue with the entry from Henry Bacon's book on Visconti: Explorations of Beauty and Decay being a must. For those serious about their Visconti it should be bought anyway!
For now this entry will function as a small hub for those intersted in following up this film.
- Director: Luchino Visconti
- Script: Suso Cecchi d'Amico, Enrico Medioli, Luchino Visconti
- Photo: Armando Nannuzzi
- Music: Jacques Offenbach, Robert Schumann, Richard Wagner
- Cast: Helmut Berger (Ludwig), Trevor Howard (Richard Wagner), Silvana Mangano (Cosima Von Buelow), Romy Schneider (Elisabeth of Austria), Gert Fröbe (Father Hoffmann), Helmut Griem (Count Duerckheim), Izabella Telezynska (Queen Mother), Umberto Orsini (Count Von Holstein), John Moulder-Brown (Prince Otto), Sonia Petrovna (Sophie), Folker Bohnet (Joseph Kainz), Heinz Moog (Professor Gudden), Adriana Asti (Lila Von Buliowski), Marc Porel (Richard Hornig), Nora Ricci (Countess Ida Ferenczy), Mark Burns (Hans Von Buelow), Maurizio Bonuglia (Mayor)
- Country: France
- Language: French
- Runtime: 245 min
Google look at Bacon's Visconti Explorations of Beauty and Decay. (This should be the first stop for those seriously intersted in Visconti).
Film Availability :
June 09, 2007
Visconti’s The Damned (La Caduta degli dei ) 1969:
Representing Nazism and Nationalism
Switzerland / Italy / West Germany
(The film was shot in English at the insistence of Warner Brothers)
Visit other Visconti historical films: Senso and The Leopard
SA Orgy on the "Night of the Long Knives" from Visconti's The Damned
Introduction: Visconti, History & Nationalism
Through an analysis of The Damned (1969) with some comparative work of Visconti’s The Leopard (1962) this article argues that the work of Visconti is overdue critical revision in terms of the sophistication of his oeuvre regarding the nature of history related to two critical turning-points in modern European history namely the Risorgimento and the accession to and consolidation of power of the Nazis. These two films represent the major triumphs of nationalism of the 19th century often seen as progressive Garibaldi for example was greeted by massed crowds when he visited London hailed as being very progressive by British radicals. The closure of this era of nationalism, which by the 1930s can be seen as highly regressive in all European countries, was represented by The Damned. It represents the corrupted coming to power of the Nazis and the heinous activities they undertook to maintain and consolidate their hold on Germany. The massacre of the Night of the Long Knives is a direct echo of the off screen execution of Garibaldian radicals as the Prince of Salina returns home from the ball at the end of The Leopard.
Post First World War nationalisms had led to the establishing of several reactionary governments across central and Eastern Europe as well as in Italy and later Spain. For Visconti Nazi Germany represents the nadir of this wider reactionary nationalism. Historically Nazism was to play out the end of this nationalist urge movement in the most melodramatic of ways. The Damned functions as a film about the few critical months between February 1933 - June 1934 which saw the installation and consolidation of a regime that would bring Europe crashing to its knees and end the period of liberal nationalism the Risorgimento symbolised as it mutated into reaction. For Visconti The Damned is nothing less than a representation of an attempt to turn back the tide of history.
The argument presented here seeks to show that Visconti’s notion of anthropomorphic cinema, which combined a unique blend of Gramscian and Lukacsian Marxism, consistently and successfully uses some great European realist works of the 20th century to represent the trajectory of history through cinema in ways which have yet to be matched by any other director. This posting draws upon recent scholarship of the Nazi period to cross- reference Visconti’s approach. As a result the article takes issue with Nowell-Smith’s (2003) suggestion that Visconti shifts his interest in history towards culture. I argue that for Visconti they are intimately intertwined. The article also takes issue with the other main critical work in English on Visconti by Bacon (1998). Bacon’s otherwise interesting and insightful work also fails to grapple fully with Visconti’s understanding of history which as a result leads him to re-inscribe Visconti as a Liberal democrat. The argument here is that a careful reading of Visconti’s work reveals a very profound and decidedly Marxian approach to history and representation.
Helmut Berger cross dressing as a cabaret artiste in Visconti's The Damned
The Damned has often been regarded as the first of Visconti’s films described as ‘The German Trilogy’ the others being Death in Venice (1973) and Ludwig (1973). Henry Bacon (1998) specifically categorises these films together under a chapter ‘Visconti & Germany’ an approach which is perhaps in need of revision. Previously Visconti’s films had analysed Italian society during the Risorgimento and post-war periods. Bondanella has seen the ‘trilogy’ as a move to take a broader view of European politics and culture. Stylistically ‘They emphasise lavish sets and costumes, sensuous lighting, painstakingly slow camerawork, and a penchant for imagery reflecting subjective states or symbolic value’[i] comments Bondanella. He also notes that much critical discourse has confused the examination of decadence in Visconti’s later works with a recommendation for its continuation. Visconti himself has commented that he was interested ‘in the analysis of a sick society’, and there is a marked difference between the representation of rising modernity and its links with the bourgeoisie in The Leopard compared with the stasis of Europe. This stasis is examined through allegory encapsulated by a sick fin de siecle Venice and a moribund Bavarian monarchy. Both are studies of decadence which Visconti considers is an outward symbol of a society entering into its death throes. These represent issues raised by the construction of the Bismarckian strong state and aspects of the weakness of the old empire of Austro-Hungary and its former ally
The Damned takes as its subject matter the relationships between the heavy industrialists in the late Weimar Republic on the cusp of Nazi success. There was a clear need for the Nazi leadership to discipline, and revise its approach should it wish to reach the heights of power with the blessing of the powerful industrialists as well as win over the army. This manufacture of consensus – albeit temporary – precisely illustrates the workings of hegemony as understood by Gramsci. This case study seeks to analyse The Damned through the lens of Visconti’s notion of ‘anthropomorphic cinema’. Nowell-Smith defines this notion as a situation where ‘the movement of social forces is reflected in the actions and passions of individuals expressed through the representation of character’ (Nowell-Smith 2003, p 151). Furthermore anthropomorphic cinema within The Damned relates the historical processes in which Visconti develops Gramsci’s notions of ‘Hegemony’ as a political process which can emerge as a regressive not just a progressive force.
Critics have commented that Visconti has been strongly influenced by William Shirer’s ‘Rise and Fall of the Third Reich’ and also by Thomas Mann’s Buddenbrooks. It is also noted that Visconti read other historical publications apart from Shirer. Shirer was an American journalist covering events in situ which he later turned into a book. It was certainly a widely influential book, however historiography of the Nazi period has moved on considerably since then [ii]. Visconti might well have been strongly influenced by Italian historiography of the time which in general has been viewed as ‘ethico-political’ by Martin Clark (1984) in a standard British text of Italian history. Clark notes that the ‘mainstream Marxist’ historians of Italy who were members of the Communist Party were strongly influenced by Gramsci. Gramscian ideas certainly helped formulate one of Visconti’s main theoretical lenses in constructing his historical films. Nevertheless it is stressed below that Visconti was not trying to construct a conventional drama-documentary of an historical event, rather, I argue, he was trying to bring to the fore the notion of underlying historical processes at a deeper and more universal level through his cinematic practice.
The search and attempts to represent universals is currently deeply out of fashion as critics, theorists and practitioners tinker with post-modern ideologies such as ‘the end of history’. Nevertheless ‘Great Art’ has usually been identified as a matter of seeking universals from specifics and the wheel of intellectual fashion may well return to this approach in due course.. Artistic licence is precisely bending situations, not being concerned with representing the specific moment naturalistically but transforming it into the universal. Many consider Shakespeare’s Macbeth to have been influential upon Visconti in preparing for this film. Macbeth is a dramatic version of an historical event a real Macbeth in Scottish but worked over so that it has become a classic interpretation of power and desire leading ultimately to downfall. Shakespeare’s tragedy is modelled upon Greek lines in that fate plays a part. Where Visconti has improved artistically upon Shakespeare is by removing fate and destiny and its role over the individual actor from the realm of individuals to a representation of historical processes by developing his concept of anthropomorphic cinema. Viscontian tragedy is thus an inversion of Greek classical tragedy through his understanding of historiography.
Visconti’s Anthropomorphic Cinema and Gramscian Hegemonic Theory
The breaking down of Visconti’s work into differing categories is a critical construction which vitiates against other interpretative structures. What is argued here is that The Damned can be seen not simply as a ‘German’ film but as a film about the role of nationalism within modern history. Thus it can be argued that by linking this film with The Leopard for the purposes of critical analysis at the level of historical theory Visconti can be seen to be using the processes at work within the Risorgimento as a representation of progressive liberal nationalism. The progressiveness is limited for as the character Tancredi famously points out, everything does change in order to re-establish stability and embed the reconstructed social elites. Often, as Clark (1984) notes, the leaders of disaffected groups are perfectly willing to become absorbed into new social formations but it is the troops who remain recalcitrant. In The Leopard the troops were the Garibaldian hard-liners who are executed off screen at the end of The Leopard. The Damned acts like a mirror of The Leopard in a misrecognition in which the recalcitrant leadership of the SA fails to become absorbed into the new consensus which Hitler needs to construct in order to develop his project.
It has been traditional to view the nationalisms of the 19th century as largely progressive whilst the 20th century nationalisms, at least within Europe, have been viewed as regressive by post Second World War historians. Both Senso and The Leopard provide a critical historical background to the process of the Risorgimento but the cinematic approach of the former is closer to that of The Damned. The Damned uses the methods of ‘anthropomorphic cinema’ to show how German nationalism was doomed to failure. Visconti is careful to choose key historical turning-points to develop his ideas of history. These are times when historical changes requires a reconfiguration of the ruling elites to contain more progressive elements and form a stable social structure capable of meeting the change as in the case of the Risorgimento films. The difficulties and price of reconfiguration amongst the elites in Nazi ruled Germany leads to disaster as in The Damned.
The compromises and self-seeking attitude of the aristocracy was examined in different ways in the two Risorgimento films. In The Damned Visconti shows the failure of liberal democracy and the industrial imperative of capitalism to forge a progressive agenda. Other major industrial countries France, Britain and the United States at the time had, through a variety of different paths, established liberal democracies albeit with problems. Germany by comparison did not: the founding moment of the Weimar Republic was a poisoned chalice which was handed over by a militaristic leadership facing defeat in 1918. These elites were trying to save themselves and regroup. Consequently the old Prussian elites were never comprehensively defeated. Throughout the time of the Weimar Republic they exerted a strong reactionary influence refusing - unlike the Prince of Salina in The Leopard - to engage constructively with the formation of a new hegemonic social formation which could provide a stable ruling elite. Bacon quotes Visconti as saying ‘...but Nazism seems to me to reveal more about a historical reversal of values.’ (Visconti cited Bacon, 1998 p 145 my emphasis) but Bacon doesn’t follow this insight up.
The inability to become involved in the construction of a new hegemonic order by the older elites in Germany is represented in a very persuasive way by Visconti. The opening scenes of the film follow Friedrich (Dirk Bogarde) being tempted by the SS into a murderous plot amongst scenes from a family celebratory gathering which ends in murder and mayhem. At the gathering, the head of the Essenbeck family and the overall controller of the steel company, Baron Joachim, clearly displays his dislike of the new order as does one of his vice chairman Herbert the husband of his niece. Joachim’s second son Konstantin has clearly decided to back Hitler through his membership of the SA.
Visconti’s The Damned is analysing Gramsci’s notions of hegemony applying them to an emerging historical conjuncture. A new elite will, if necessary, be created by force and will create a cultural and social order to match. In Italy the previous ruling elites, whether in Piedmont or in
The failure of Joachim can also be discerned by comparing his attitude to the rising Bourgeoisie exemplified by Friedrich Bruckmann (Dirk Bogarde). In the opening scenes Friedrich is in a car with the SS officer Aschenbach bemoaning the impossibility of being able to marry Sophie the widow of Joachim’s elder son because of Joachim’s unenlightened attitude typical of the Prussian elites trying to freeze the processes of history. In The Leopard the Prince of Salina encourages and supports Tancredi’s marriage with the rising commercial classes. By comparison Joachim is entirely opposed to a similar possibility. That Joachim is murdered by Friedrich could be seen as the outcome of not accepting social change in an ordered way. His refusal to let change happen disillusions and disarms the new commercial classes and also makes a potential power vacuum into which other social forces such as Nazism can emerge. Thus it can be seen that anthropomorphic cinema is working effectively through individual characters.
In Gramsci’s classic analysis of hegemony, state power is used in the last instance to maintain the state and the processes of hegemony allows for a political restructuring of the social orders in a controllable way. However, the Weimar state was disintegrating especially between 1931 and 1933. The breakdown of hegemony necessitated a new power struggle, Aschenbach and Konstantin represent the contenders in the process of re-hegemonising German society. The Joachims, Friedrichs and Sophies have no sense of historical processes in the way exemplified by the Prince of Salina.
Let us take another comparison between the role and function of the marriages in The Leopard and The Damned. In the former marriage symbolises the new vehicle in which the new Italian order will be crystallised. The fabulous ball scene at the end of The Leopard lasts approximately 40 minutes. Visconti shows us a situation in which the officers of the new army will marry into the daughters of the old order who are depicted as interbred and running about like monkeys. Less historical criticism has focused upon the surface sumptuousness of Visconti’s set at the expense of displaying a full understanding of Visconti’s attempt to represent as the culmination of his film the full process of re-hegemonisation.
By comparison, in The Damned, the marriage between Sophie and Friedrich has come far to late. There is no possibility of an easy re-formation of the old orders with the new. Both the older elite represented by Sophie and the rising elite, Friedrich, have in Bridge parlance been ‘endgamed’, it is the Nazis who control the play. It is an empty marriage going nowhere, and held in isolation not at the centre of society. The embittered son Martin has crossed into the camp of the emergent monster which has erupted through a rent in the thin democratic fabric of Weimar society. This was because of the failure of the old elites to combine with the rising mercantile classes. The Weimar collapsed because of the failure to form a consensus amongst the ruling elites.
This astute analysis of historical processes is a fundamental strength of Visconti’s anthropomorphic cinema. In reality the economic desires of the industrialists who have supported the Nazis are stymied by 1936 with the take over of the economy under the second four year plan headed by Goring. Their desire for the creation of a consumer based, highly profitable economy once the communists and unions are brought under control is diverted into the project of total war[i], and Germany’s ultimate damnation is its trial by fire leading to ‘Germany Year Zero’.
Here Helmut Berger is asserting his newly discovered power within the Essenbeck family. From Visconti's The Damned
I have argued that the Essenbeck family around which the film is centred acts as a synecdoche for German society as a whole. The period covered by the film starts about three weeks after Hitler’s invitation to become Chancellor by Hindenburg at the behest of von Papen at the end of January 1933. Von Papen had hubristically and wrongly ‘guaranteed’ that Hitler and the Nazis were controllable. This way of looking at the film tends to invert the emphasis that the family is torn apart by the pressures of Nazism which often how critics have seen the film. The Essenbeck quarrels represent key conflicting currents and strands amongst the Weimar German elites.
The first section of The Damned shows events leading up to, during, and after an important family dinner taking place on the night of the Reichstag fire. The fire itself was interpreted by Visconti as a pretext - twice underlined by the film’s dialogue - for the Nazis to severely repress the Communists in particular in the remaining days coming up to the last ‘free’ election of the Weimar Republic’ in March. This is probably the case although there is no discovered direct evidence linking the Nazis to the fire according to Richard Evans (2003). The subsequent implosion of the Essenbeck family parallels the collapse of institutions in Germany as the Nazis pursued their policy of ‘Gleichshaltung’ or ‘co-ordination’, which was a reasonably pleasant sounding term for the total repression of potential political opposition within Germany. It also meant the taking over of the political institutions at local and regional level once total control at the centre had been achieved.
Cinematically there is a useful comparison to be made between the way in which family dinners are handled in The Leopard and in The Damned which features two dismal dinners. In The Leopard the dinner at the Prince’s residence in Donnafugata is a vehicle in which the possibilities for the processes of hegemony can take place. Tancredi first sees an adult Angelica (Claudia Cardinale ) and is smitten. Cinematically and socially the dinners in Visconti’s historical films function as a vehicle for integration and progressive change in The Leopard or disintegration and regression as in The Damned.
The Damned takes the viewer to the end of the period of Nazi ‘co-ordination’ finally finished by the 1934 Nuremberg rally. Famously this rally saw the making and release of Leni Riefenstahl’s Triumph of the Will. The rally was a follow up to the infamous ‘Night of the Long Knives’ which took place at the end of June 1934. This action was centred around the political beheading of the Sturmabteilung or SA headed by Rohm who were agitating for a ‘Second Nazi Revolution’. After the full accession to power by Hitler in March 1933 and the take-over of the constitutional institutions by a carefully contrived fait accompli the SA were in the forefront of the fight against the Communists, Social Democrats and Trade Unionists who tried in the early days to offer some resistance to Hitler. They also played an integral role in the harassment of Jews, informally before April 1st 1933, and in an increasingly organised way afterwards, starting with a boycott of Jewish businesses on this date.
The Nuremberg rally which Riefenstahl filmed was not simply a propaganda stunt, it was a public declaration in the most powerful way possible backed by cinema to fully establish in the minds of the Nazi party itself that Hitler was the ‘Fuhrer’ and that the Germany was now united along its path to an historic future. The film which features the German Army as well as the SA and other Nazi organisations is the outcome of Hitler’s ideological cull. The presence of the German Army and its leader von Blomberg at the 1934 Nuremberg rally was symbolically immensely important for Hitler. The Nazis were reliant upon the army to achieve his long-term aims of ‘Lebensraum’ or colonial expansion mainly directed towards the east. By 1936 Hitler against the desires and advice of most capitalists and his economics minister and governor of the central bank Schacht was determined to pursue economic policies of rearmament. Overy argues that these policies were being carried out with the express intention of preparing Germany for a total war in which it could survive for up to 15 years.
It can now be seen that that Visconti has been very precise in the historical moment that he has chosen to represent. Nowell-Smith (2003) is surely right to note that the film operates on three levels of history, drama and myth. Nevertheless Nowell-Smith’s critical comments, like those of Bacon, do not exam the history closely enough. Instead they focus too closely upon the literary and the critical influences within the film at the expense of the historical process which is being represented. As a result they both tend to glide over an essential feature which Visconti certainly wished to represent. It is also important to note that the rise to power of Hitler and the Nazis was itself an operatic trajectory in real life and it was intensely melodramatic. It is worth bearing in mind that Hitler was obsessed with Wagnerian opera. After defeat at Stalingrad in 1942 Hitler then eschews Wagner. For Visconti opera in such films as Senso could be represented as progressive liberal Italian nationalism albeit undermined by the ruling elites. Wagner by comparison was infused with a regressive Germanic 19th century romantic mysticism. Wagner was also intensely anti-Semitic. The Damned is thus open to a thorough reading of Visconti’s ideas on the role of opera in culture considering Verdi as progressive and Kultur through Wagner as regressive. However discussion of this is beyond the scope of this entry.
The Reichstag Fire
Visconti correctly picks the night of the Reichstag fire as an historical turning-point marking the beginning of the final collapse of Germany into its path of damnation - the outcomes of which are well documented by Rossellini’s ‘Germany Year Zero’ (1947). The first dialogue of Aschenbach ( the SS officer) and Friedrich (Dirk Bogarde) gives rise to a hint of something about to happen, in the entrance hall Aschenbach even more strongly signals that on this night in particular it will be important for Friedrich to act. It is clear that Aschenbach is in possession of some a priori knowledge. This is an invitation to murder Joachim the head of the family and the steel company. The prizes for Bogarde are Sophie and effective control of the company. The time for personal morality is dead states Aschenbach. The question at this stage is will Bogarde accept this Faustian pact?
The Reichstag Fire is announced by Konstantin the coarse and vulgar SA member of the family who also announces that the ‘culprit’ a communist has already been captured. The culprit in reality was captured on the site of the Reichstag trying to set alight yet more curtains. Van den Lubbe was not however a communist. He was an unemployed fairly deranged anarchist with bad visual impairment who had several years ago been flung out of the Dutch communist party for promoting arson and other acts of sabotage. As yet there is no precise historical evidence to definitively link the fire to a piece of agent provocatuerism on the part of the Nazis. However, we are asked to believe that this character in his physical state was easily able to break into the Reichstag without discovery only a few days after being released from a police force which was already thoroughly infiltrated by active Nazis as well as being controlled by the Nazis at the top. In reality the Nazis immediately arrested hundreds of Communists in Berlin and this carried on in the following days and weeks leading up to the election. It effectively ensured that the Communists couldn’t make an effective election campaign. By not banning the Communists outright Hitler ensured that their votes were unlikely to go to the Social Democrats. This fire effectively sealed the fate of Germany which Visconti was clearly well aware of.
Night of the Long Knives
The melodramatic themes of the film are carefully interwoven with a clever analysis of real events. The tour de force is the representation of the infamous ‘Night of the Long Knives’, when the SS (Black-shirts) massacred the leadership of Eric Rohm’s SA (The Brownshirts). This was a crucial moment in the rise to power of the Nazis. The Brownshirts represented the mobster populist element upon which the Nazi party was based, this populist element represented the so-called ‘socialist’ element of the ‘NSDP’. It was an element that was unsympathetic towards large capitalist organisations seeing them as exploitative of the ‘little man’ and the petit-bourgeoisie. If Hitler was to take the final step to power then he was going to have to purge his party of these elements and reconfigure the basic ethos of his party. The leader of the SA Eric Rohm had a strong personal power base and had been a colleague of Hitler’s since the beginnings of the Nazi party and had been a member of the paramilitary Freikorps before that. The ‘Night of the Long Knives’ also saw the murder of other leading figures such as von Schleicher who had been the Conservative Chancellor before Hitler was manipulated into power by von Papen. It is important to note that the German army colluded in the ‘Night of the Long Knives’. Reichenau made the agreement with Himmler to keep the army confined to barracks during the 1934 Rohm Purge. After the event Reichenau even issued a statement justifying the murder of General von Schleicher. It was effectively the last major act in the reformation of the ruling elites but a formation that was now on the road to an even worse fate than befell Germany in the First World War. That was also a war which the Prussian military elites had encouraged.
The final step to power for the Nazi party was based upon a compromise between, on one side, Hitler and his closest allies in the Nazi party underpinned by the rise of the SS as an elite corps answerable only to Hitler. This dishonourable political marriage to gain power was made with the most powerful of the German industrialists many of whom were members of, or sympathetic to, the Nationalist party, which was small but highly influential amongst the upper classes of Germany. A prominent leader of this party was Hugenberg who not only took over UfA after its near bankruptcy but also became the Minister of Finance when the Nazis first won a majority in the Reichstag. Whilst the plot of Visconti’s film initially appears complex, the family of ‘misfits, powers seekers, and perverts’ as Bondanella describes the Essenbeck family which is loosely based upon the Krupps family can be read as a trope for the confused state of Weimar Germany in the early 1930s. Bondanella would probably not subscribe to a reading of this nature for he asserts that Visconti did not intend the film to be taken as a serious sociological or psychological reading of German culture in Weimar Germany.
Bondanella’s position also runs counter to Nowell-Smith’s final comments in his reading when he argues that ‘Visconti’s focus of interest has shifted from history as such, in the sense of a given set of events of which people are the agents, to culture in the sense of the objects which people have produced in history, to represent or to form part of the world they experience.’ (Nowell-Smith 2003, p 156).
Has Visconti's prior concern with history changed?
More on the issue of culture below, but firstly let us take the assertion that Visconti’s focus upon history as such has shifted. That the film is loosely based upon the Krupp family is important. It is well known that the head of Krupp wasn’t keen on the Nazis coming to power and it is certainly true that that the Krupp family had to make compromises to fit in with the demands of the Nazi regime. However it is important to note that the whole of the capitalist class was forced to do this as well. Visconti’s film is not a history of Nazi Germany it is a representation of the socio-political forces at work in the country in a very tight time-frame. If the Essenbecks are seen as representative not just of the Krupp family but as industrial capital within Germany in general then the perfidy, confusion betrayal and counter-betrayal makes more sense. It is important to note for example the example of Thyssen below and compare that with a brief outline of the Krupp family. In the film Martin can be seen as being close to the character of Alfred Krupp (see box below). The role of Herbert is more difficult to assess. Perhaps he should be seen as a portmanteau character who represents those in the ruling elites who recognise the fate which awaits Germany and leave. That Herbert reappears briefly because his family has been held hostage is also significant. Recent work on the Nazi Terror shows how the Gestapo went to great efforts to track down communists who left the country in the early 1930s, even those who were not especially important. These people were often used as sources of intelligence because their families were threatened with torture and the camps[i] . In reality the ruthlessness of the Nazis against former supporters is shown when the leading industrialist Thyssen and Schacht, the architect of early Nazi economic success both end up in concentration camps
One important concern is how to represent a period in which the KPD on Stalin’s orders had declared the German Social Democrat Party (SPD) ‘Social Fascists’. As much as anything this contributed to the rise to power of the Nazis when they achieved electoral success in 1933. At the time the film was made in Italy the communist party was still strongly allied to Moscow, it was only later in the 1970s that the cracks wrought by ‘Eurocommunism’ began to show. A critique of this nature would not have served Visconti well thus the working class as a class force in a Marxist sense disappear from view. Instead this is replaced by the bitter incestuous infighting in the grab for power by the elites.
By taking this artistic route Visconti was able to focus his critique upon the false hopes of redemption promoted by populism. Populism fails structurally to be a historical force able to liberate the socially excluded. The populists in the SA, like the working class nationalists in The Leopard meet their comeuppance. In The Leopard the bourgeoisie can still be seen a social force moving society forwards - in Marxist terms achieving their historical role. By comparison, at a time when modernity has become strongly installed in Europe and when the Weimar Republic represented one of the most advanced constitutions in the world the liberal bourgeoisie are forced out by a failure to connect socially or politically with the masses. Liberalism is subject to betrayal by unenlightened members of their own class who have tied their fortunes to Nazism as a mythological force doomed to failure. It is here that Visconti’s mise-en-scene described so well by Bondanella acts to signify this historically doomed trail up a one way street. The colour red comes to symbolise a hyperbolic and horrifying vision of a family embodying a corrupt culture that wilfully pulls the world down around its Ears’. (Bondanella, 2001, p 206).
The Role of Culture
Within Visconti’s notions of anthropomorphic cinema it is useful to discuss the role of culture and to consider culture in relation to civilisation. The stock question which always seems to be asked is ‘How can such a “cultured” nation have descended to the depths of such depravity?’ It enjoyed its cultural heritage this even down to enjoying to the greatest icons of European classical music such as the romantic lieder of Schubert and Beethoven symphonies after a busy day offloading Jewish deportees in the death camps of Auschwitz and Treblinka.
Kultur for Germany has been associated with the ‘spirit of the nation’ unlike France and to some extent Italy which focused on ‘civilisation’ seen through German eyes as superficial and manneristic ‘feminised’ in the view of some. Bacon describes The Damned as a description of the ’utter negation of German culture’. The greatest success of Aschenbach was the winning over of Gunther (the cello playing son of Konstantin) to the evil of Nazism. Gunther can be seen as a synecdoche for the institutional liberal cultural establishment within Germany which makes its accommodation to Nazism. The likes of von Karajan for example spring to mind. Richard Evans 2003 gives a useful review of the cultural turn in post-Weimar Germany discussing some of these concerns. Bacon turns to George Steiner to try and provide some insight into this seeming cultural paradox. Steiner in a footnote comes up with an explanation which argues ‘If your brain, your nervous system, your imagination, your sensibility, your professional skills are completely and deeply invested in the great arts of the imagination and in abstract thought, speculation, instead of becoming more human, you may, unless you are terribly careful become less human...’ (Steiner cited Bacon 1998 p 240). For Steiner the paradox which arises it that there may be a desire for barbarism and also an indifference to barbarism. This, for Steiner, explains the capability of those in charge of the camps being able to play the cultural classics very, very well.
The other aspect of culture / entertainment which is represented is the cabaret. It is seen by all the observers as a culture of decadence which leads into perversion. As cabaret was strongly implicated with Jewish Bohemianism and Bohemian culture was seen in Nazi eyes as the degradation of the country associated with being non-German it was obviously rejected. The interruption of Martin’s performance and the subsequent walking out can be read as the filmic equivalent of marking the end of this culture. The grand walk out by the family could well be read as a marker of cultural pessimism of the kind espoused the likes of Spengler in his ‘Decline of the West’.
Martin is obviously incensed at this development, for it has been his rather feeble raison d’etre as someone entirely decadent. The film sees Martin changing from a lover of Bohemian decadence as a guilty cultural transgression into being able to take his place as a ‘richtige’ man. His paedophilia itself is a repressed desire for power at the start of the film, he isn’t a ‘real man’ he can only sing way about this in a self parodying way, dressed in a woman’s nightclub outfit at the start. By the end of the film he has reversed the tables over his viperous mother exercising his sexual power over her. Having driven her into a state of semi-madness he officiates over the marriage and death of Sophie and Friedrich. The bait of power left by Sophie has shifted from little girls to the capability of exercising any act without any sense of culpability whatsoever for Martin always displayed the amoralism desired by Aschenbach. Aschenbach has found his ‘willing executioner’ who can act with pleasure. This is unlike the purely selfish motives with which ‘the Macbeths' (Sophie and Friedrich ) conduct their heinous crimes. Martin will clearly revel in orchestrating millions of deaths. If Aschenbach is imagined as the ‘banality of evil’ as as Hannah Arendt has mistakenly described the organiser of the Holocaust [i] then the pure nastiness of Martin seems rather closer to that of the Nazi executioner Heydrich. Martin had something to keep hidden but is represented at the end of the film as the face of evil.
Visconti has chosen to represent this important historical period in a very clever dramatised way. The film is neither a historicisation of psychology nor is it, as Micciche argues, a psychologisation of history. That Martin, for example, is an example of the worm that turns is a comment upon how Nazism learned to appeal to the weak through an ‘armoured strength’ propping up masculinity in crisis provided by the unremitting structures of Nazi power [i] . This psychoanalytical approach begins to make sense of the tendency of directors such as Rossellini to over exaggerate the evils of Nazism by de-masculinising them. Roma Citta Aperta and Germany Year Zero feature Nazis as gay, lesbian and paedophilic. These outcasts could become a part of that discourse of power safe in its solidarity. There was no morality except that of service to a greater notion of the Nazi ideal provided by the almost godlike figure of the Fuhrer. Visconti has shown how ruthless the Nazi party was in pursuing its ends. It played upon class weakness, personal weakness and manufactured situations in which it could take advantage at both these levels of weakness.
Visconti of course used technical artifice such as the use of colour and mise en scene to make the film partly a melodrama. But at its heart it never seemed to veer from the position of anthropomorphic cinema. None of the characters were exact representations of real characters of the moment, they were portmanteau characters crystallising certain currents and tendencies in a way which managed to universalise from the specific precisely because the film was removed from the constraints of being documentary realism into an operatic / melodramatic register. Thus, it is possible to agree with Bacon that by interweaving these strands the film shows that the historical forces which led to the rise of Nazism can rise again, a fact witnessed by the Cambodian Khmer Rouge, and the ‘ethnic cleansing’ in Rwanda and during the break-up of Yugoslavia.
When it comes to a question of culture this film is especially interesting for Visconti is exploring the nature of the relationship of culture to politics. High art and culture when it is taken out of its context is no guarantor of civilisation. The Gods (Hitler) are kept in the twilight but are seen as directly responsible for the downfall of society, the Wagnerian dreams far from the trends of modernising society are trashed for they can only be regressive. Visconti doesn’t offer the viewer any pleasant futures for we already know the future of Germany. Instead the film functions as a route towards an explanation provided by history for the possibilities of a dystopian future not only for Germany.
This analysis by taking two of Visconti’s most developed historical films seeks to explore whether there is a clear structural link between Visconti’s explorations of history through culture and culture through history. I have argued that there are strong grounds for rethinking Visconti’s oeuvre as part of a more coherent framework than is currently recognised. By re-categorising his work away from the Risorgimento / German binary which has been critically established this analysis can be pursued further by revisiting his other ‘German’ films Death in Venice and Ludwig. Visconti is trying to explore through the cultural framework how European society managed to implode triggered by start of the First World War leading to a European Thirty Years war. At an international level this war functioned as the completion of a process in which empires as they were previously known largely disappeared in the following few years. They were now clearly redundant and a new dynamic force in the shape of the USA had replaced the old orders. Arguably the USA is the absent other which came to thrive out of the chaos and decadence of a Europe which had gone past its ‘sell by date’. Visconti chose to examine this process using the works of Thomas Mann and the drama of Chekhov through a Lukacsian based filter. Here, the best realist work can be seen to be representative of the processes underlying socio-economic change in society through their characterisations in ways unrecognised even by the authors. But Visconti’s theoretical concerns also lead to a blending of Gramscian Marxism with Luckasian Marxism in ways which will be fruitful to explore further for Lukacs of course made his own famous contribution to thinking about history in History and Class Consciousness however that is a task beyond the limits of this article.
Visconti’s The Leopard and The Damned are probably the two best films ever made about history from a Marxist perspective. More work remains to be done in revising the rest of his later works from this perspective. This article parts company with Nowell-Smith by reading Visconti as being thoroughly imbricated with history. The article also parts company with Bacon by insisting that rather than being a liberal democrat in his later years Visconti‘s primary concern is to be exploring the processes of history at a very deep level. Visconti should be taken at face value when he argued that he was interested in analysing a sick society. That he chose to do so using some of the great works of European fiction within a realist mode should not detract from his project. The analysis here provides evidence that Visconti was working on a great project pursued steadily through his work. This project was driven by combining Gramscian and Lukacsian insights developing his own contribution to critical analysis and artistic representation which was the concept of anthropomorphic cinema.
Below are some links to separate positings about important historical people in Nazi Germany who Visconti has explicity or implicitly represented in The Damned:
Heydrich, Reinhard (1904 - 1942).
Krupp von Bohlen und Halbach, Alfred (1907-1967)
Krupp von Bohlen und Halbach, Gustav (1870-1950).
Lubbe, Marianus van den (1909-1934)
Reichenau, Walter von (1884-1942)
Thyssen Fritz (1873-1951)
Bacon, Henry. 1998. Visconti: Explorations of Beauty and Decay. Cambridge: Cambridge University Press
Bondanella, Peter. 3rd edition. 2002. Italian Cinema: From Neorealism to the Present.
Cesarani, David. Eichman : His Life and Crimes. Heinemann 2004.
Clark, Martin. 1984. Modern Italy 1871-1982. London: Longman
Evans, Richard J. 2003. The Coming of the Third Reich. London: Penguin /
Fischer, Klaus P. 1995. Nazi Germany a New History. London: Constable
Johnson, Eric. 2002. The Nazi Terror: Gestapo, Jews and Ordinary Germans. London: John Murray
Mommsen, Hans. 2003. Alternatives to Hitler. London: I. B. Tauris
Nowell-Smith, Geoffrey. 2003 3rd edition. Luchino Visconti. London: British Film Institute
Overy, R. D. 1995. War and Economy in the Third Reich. Oxford: Oxford University Press
Taylor, Richard. 1998. Film Propaganda Soviet Russia and Nazi Germany. London: I. B. Tauris
Wheal, Donald James and Shaw Warren. 1997. The Penguin Dictionary of the Third Reich. London Penguin
Germany Year Zero (1947) Rossellini
The Damned (1969) Visconti
The Leopard (1962) Visconti
Triumph of the Will (1934) Riefenstahl
Please note these sites were not used in the writing of this article they are being provided for visitor information only.
THE DAMNED (LA CADUTA DEGLI DEI) BBC 4 Page
THE LIFE AND TIMES OF COUNT LUCHINO VISCONTI . A BBC 4 Arena program it is the best available documentary in English on Visconti. I believe it is available as an extra on one of the BFI Visconti films.
Visconti's Cinema of Twilight by Maximilian Le Cain on the Senses of Cinema site. This is a runmination on Visconti's ouvre in general but has a couple of intersting comments on the Damned. immediately below he comments on the cinematic technique of the constructio of a disorienting cinematic space to emphasise change in the social order. Thiws seems a pertinent reading.
The disorientating violence of the zooms in The Damned literally pulls the space out from around the characters, enveloping them in a panicky state of alienation from their surroundings which are changing too fast. This constant spatial disintegration reflects the insecurity of the often ruthless characters' scrabble for power in the crucible of a new and very dangerous society. (Maximilian Le Cain).
I am less convinced by another of Le Cain's comments below. The article above argues that the later films wern't just personal projects and that a deep level of politics THROUGH historical analysis was embedded in all his films. Whilst one might choose to make a reading of The Damned as a comment upon the developing political instabilities of Italy at the time it needs to be argued not asserted as it is in this article:
the committed communist Visconti was adamant that all his previous films were in some way political. The Damned, although set during Hitler's rise to power, represented a despairing comment on the events of 1968 after which the director gave up political filmmaking to concentrate on purely personal projects. (Maximilian Le Cain)
The sort of comments represented by this review in DVD Times are precisely the ones which this article argues against. Lured by surface and Nazis for Dummies kind of history it can sound convincing until the detail is worked through. It does represent those who feel that soemhow Nazism and the Holocaust have to be treated with a reverential attitude which is entirely linked to naturalism. This ironic given Hitler's propensity to melodrama.
The New York Times review By VINCENT CANBY Published: December 19, 1969. This is lovely review which is refreshing and open to the experience of the time. Gaining information about the reception of films in their contemporary settings usually enriches our understandings.
May 28, 2007
The Historical Context of The Leopard, (1963):director Luchino Visconti
Visit analyses of Visconti's other historical film: Senso and The Damned
Visconti needs to be recognised as one of the most important film directors of the 20th century. Visconti's aesthetic approach is fascinating and other themes such as homosexuality are very important to his oeuvre but it is the way in which Visconti develops these themes within an overarching intellectual framework which I think will ultimately lead to a wider recognition of his greatness. Some of Visconti's greatness stems from his treatment of history itself. Something which Geoffrey Nowell-Smith has commented upon:
It is in the quality of his meditation on history that Visconti distinguishes himself from all other film-makers, past or present. There have been great film-makers who have occasionally delved into the past for one reason or another... But none of these, not even Eisenstein, applies to his re-creation of the past a serious and thought through theory of history... Perhaps it is because we no longer expect movie-makers to be profound thinkers that Visconti's greatness is no longer appreciated as it should be. (Nowell-Smith 2003, p 216)
Sometimes it is only in retrospect that true greatness can be appreciated. Even Nowell-Smith one of the most important commentators writing in English on Visconti admits that his original criticism of Death in Venice missed many things of importance. If only all critics could be so honest about their errors accordingly.
Introduction: The representation of history
This posting functions only as a brief synopsis and introduction to Visconti’s film The Leopard (1963). a full synopsis will be provided in a different posting. This posting is primarily concerened with establishing the background history to the film and providing an analysis based upon this. This piece was part of a presentation which argues that The Leopard can be bracketed with The Damned (1979). Taken as a pair of films I argue that amongst other things Visconti is seeking to examine the limited modernising role of Liberalism through its use of nationalism and the contradictory nature of this Liberalism which always has the potential to revert into a non-modernising political formation through nationalism. The Damned and its representation of Nazism epitomises this potential.
Nationalism for Visconti on this reading is therefore within a doomed or even negative dialectic in which the progressive impetus originally embedded within Nationalism as a political force which could overthrow the Ancien Regime will become compromised by that regime and ultimately become a reactionary force within society.
My presentation argued that the two films can usefully be compared as representing the flawed highpoint of 19th century Liberal / National revolutions The Risorgimento through The Leopard whilst The Damned shows the ultimate dangers of nationalism through the barbarism of Nazism. Thus Visconti has framed an important period of European history in a bracket of attitudes to nationalism. Many of his future films sought to combine a cultural and political historical approach to this period eschewing historical approaches which tend to separate the two strands of history. For Visconti it appears as though they are strongly intertwined.
Frequently the reviews of these films largely miss the exploration of the mechanisms of history which Visconti was keen to represent and at times are considered firstly as 'heritage' films as in the case of The Leopard. Heritage films are reliant upon costume drama for their mise en scene set in an historical period different to our own but make little or no claims upon historical authenticity neither do they examine the mechanisms of history.
By comparison The Damned has been understood as a slightly aberrant and 'melodramatic' exploration into the sexual depravities surrounding Nazism in The Damned. This does the film an injustice by dehistoricising it.
Garibaldi's Redshirts at the battle for Palermo
Visconti is renowned for his attention to detail. These shirts were soaked in tea and left in the sun in order to replicate the fading of the originals which would have happened during the course of the campaign.
Historical Background to The Leopard
Visconti made two historical films about the period of the Risorgimento (This translates as Resurgence / Rebirth) which is the process of the unification of Italy during the 19th century. The first stirrings of nationalism can be discerned as early as the late 18th century during the period when Napoleon Bonaparte governed Italy. The overthrow of Napoleon led to Italy being carved up at the Congress of Vienna (1815) when the great powers allotted the regions of Venetia and Lombardy to direct control of Austria to ensure that France didn’t have an easy invasion route into Italy again.
Before Napoleon Italy had never been a unified state. It was comprised of eight separate regions with their own Princes (The Pope controlling the Papal States) and each area with a distinctive dialect, rather than a regional accent, which many can still speak today. As a language Italian was underdeveloped and certainly didn’t exist as a form of ‘Received’ language and pronunciation.
After the Congress of Vienna a number of secret societies formed called the Carbonari (Charcoal Burners). They weren’t especially well educated, neither was there a clear manifesto, and the elements comprising this movement were fairly heterogeneous. They were loosely linked by a desire to unify Italy and get rid of foreign powers although whether the Italy of their dreams should be a widely enfranchised democracy or just a liberal bourgeois regime united behind a constitutional monarch was an underlying polarisation which was to continue throughout the whole of the unification process. The unification process was drawn out not being completed until 1870.
There are a range of historical perspectives on the Risorgimento which were strongly political. Visconti was well aware of these and was making his films in such a way as to challenge right wing nationalist views on the period.
The key historiographical positions which have developed are usefully outlined by Martin Clark 1984 who also stresses that historical writing in Italy is very clearly ‘committed’ ‘to cheer on their own team’. Much historical writing is then hagiographic, or denunciatory, or ‘Whig’.
They have tended to be dominant within academia. Their major influence has been taken from Benedetto Croce with an ‘ethico-political’ approach. Croce stressed men and ideas and spent little time on either social structures or economic issues. In the 1950s historians like Rosario Romeo opened up the economic history arena challenging the Marxist historians of the time. Liberals like others, suggests Clark, have moved towards an overemphasis upon documents and ‘facts’ rather than interpretation and synthesis.
Another leading school was mentored by Salvemini and Gobbetti. Denis Mack Smith a British historian is their best known exponent. They are anti-Facist, anti-Catholic, anti-Communist and to some extent anti-Liberal. This is because they criticise weakness of liberal governments, lack of popular support and a a ready acceptance of Southern corruption. Radicals are ‘delightfully pessimistic’ (whatever that is meant to mean) don’t write ‘total history’ but do reach a huge audience.
Clark argues that this school has been perhaps the most influential since 1945. Grouped around the journal Studi Storici . The main influence upon this group has been Gramsci whose work was published in Italy in 1945 after the end of the war. Gramsci’s main influence has been on the examination of the development of hegemony and consensus as a governing practice oiling the wheels of social change. Furthermore, the role of the intellectual as a disseminator of ideas of social change was emphasised. Gramsci also focused on the political importance of the peasantry as well.
Clark suggests that this school of Marxist thought had its limitations for they were ‘strangely uninterested in class divisions’. For them working class history usually meant a history of working class leaders. ‘Abstract entities , like proletariats and petty bourgeois, filled their pages; real workers and peasants rarely appeared, much less details of factory work, labouring skills or farming implements’. One can compare this attitude to that of British historians influenced by Marxism such as Hobsbawm and E. P Thompson).
Visconti’s Risorgimento Films: Senso (1954) / The Leopard (1963)
Visconti produced two films about the Risorgimento. At the time he made these the main historiographical perspectives were as outlined above. As a Marxist he was by now strongly influenced by Gramsci but also some of the work of the Radicals such as Gobbetti. His film Senso was strongly attacked by the army and there was a huge battle with censorship as well as with the producers. Even the final product went down as a political storm for it was very critical about the dominant way in which the Risorgimento was being represented.
Between 1949 & 1954 there were twelve films with the Risorgimento as their central theme made. Only Senso made a critique of the dominant position which was that Italian Unification had been brought by a spirit of self sacrifice. That passions were high on this subject as well as an underlying need to represent a united Italy following the take-over by Christian Democrats in 1948 is evidenced by the critical reception by one Italian historian of Dennis Mack’s (Radical) Italy a Modern History (1959) a few years later. ‘ The Risorgimento was not due to fortunate circumstances or to selfish interests ... It was a spirit of sacrifice, it was suffering in the way of exile and in the galleys, it was the blood of Italian youth on the battlefields ... It was the passion of a people for its Italian identity’. (quote taken from an ‘A’ level textbook and naughtily not sourced).
Senso was about the victory of the Austrians over the Italian army near Custoza (June 1866). Due to general mismanagement and incompetence based upon a story by Boito which recounts the infidelities of a Countess both to her husband and to the nationalist cause by falling for an Austrian officer. Visconti’s adaptation was very different but incomplete because of censorship. The historical reality was that France had made different secret deals with both Prussia and Austria by then at war with each other. In both cases Napoleon III promised to remain neutral provided that the winners passed Venetia firstly to him and with the understanding that it would then be passed to the Italian kingdom which had come about in 1861. In reality the Prussian victory at Sadowa meant that Venetia was passed to France and thence to Italy without the Italians being able to win it, much to the chagrin of the Italians.
This story wasn’t what was required at the time the film was made. It would have had contemporary resonances of the Allies being the primary liberators of Italy and undermine the myths of resistance and national solidarity which were being strongly promoted. As the Communists had been cut out of government by then there were clearly strong underlying political stakes. Senso is probably best seen as a cultural political intervention within the politics of the moment.
The Leopard is a less melodramatic film in the English sense of the term but it is deeply suffused with a sense of history at the meta level. Visconti manages to combine a range of intellectual influences into this film which perhaps will come in due course to gain the full recognition it deserves. It is informed by Marx and Gramsci at the level of history as well as by Lukacs whose sense of realism revolves around the character type. For Lukacs this means a character who is someone entirely of their class but who embodies the contradictions of history most fully.
Without once representing the working and peasant classes as a fundamental force of progress The Leopard combines a deep level of class analysis with an understand of the contradictory forces of history. The Prince understands along with Don Calogero, Angelica (Claudia Cardinale) and of course Tancredi (Alain Delon) that Italy is at a turning point. Tancredi’s youth, dandyism and vigour as well as being a nephew from a more impoverished branch of the aristocracy thus slightly outside of the establishment have led him to understand that the invasion of Garibaldi’s 1,000 in Sicily gives him an opportunity to break away from the static society of Sicily where his only hope for the future would be marriage to the shy Concetta his cousin and daughter of the Prince. This would perpetuate the physical and cultural inbreeding of the Sicilian gentry which, Visconti implies, is gradually sapping the elite of its vigour.
Tancredi quickly persuades his uncle the Prince of Salina that everything must change on the surface so that fundamental social relations don’t change. There is no loyalty to the new young King of Naples who has failed to respond positively to the winds of change emanating from Piedmont and who is effectively allied with Austria. Tancredi is attracted to the romanticism and panache of the adventurist Garibaldian ‘Redshirts’. The Prince even gives him some money to help him on his way. The Prince has quickly realised that the fundamental social order will not be changed in a revolutionary manner but that a reordering of sorts is necessary in order for his class to survive.
The Prince has an important discussion with the priest in his study surrounded by telescopes. These function as a metaphor for farsightedness, they are redolent of Galileo and his relationship to the Church, and they establish the Prince as a man of Enlightenment, an intellectual. This is contrasted with the house of another of the Sicilian aristocracy where the ball scene is held at the end of the film.
Here the Prince and his family are greeted on their arrival by the inhabitants of his summer retreat in Donnafugata.
The film shifts to the fighting in Palermo where the Redshirts win. The film moves to the Prince’s summer residence in Donnafugata away from the hotter Palermo area. They have already gained a travel permit from the Garibaldians. Many of the Garibaldian officers are from a similar class background to Tancredi. Tancredi’s position as a captain in the Garibaldian army allows them to get through a roadblock whilst the peasants are noticeably not allowed to pass. This is a clear indicator of the social limits of the revolution against the Bourbons.
In Donnafugata the processes by which a new social elite is recomposed from a mixture of old and new elements is represented. Don Calogero is the mayor and a scheming businessman who like a Hyena preys upon the needs of a distressed aristocracy, buying up some of their lands when they are desperate for some cash to support their old ways of living. Throughout the film Don Calogero is portrayed as a man who is Dickensian in many ways knowing the price of everything and the value of nothing.
Don Calogero has a beautiful daughter Angelica (Claudia Cardinale) who he introduces into polite society when invited with other petit bourgeois locals to dinner with the Prince. Sexually and erotically Tancredi is swept of his feet much to the disgust of Concetta who wants Tancredi. The prince goes into the background of Angelica’s family and quickly realises that Angelica would be a suitable match for Tancredi and vows to help him.
Here Tancredi has been courting Angelica in an old part of the Prince's palace. Angelica is playing hard to get. As a potential member of the rising bouregois class allied to the aristocracy she knows her virginity is a key part of her road to success. She is clearly not interested in having an illegitimate child with a member of the local aristocracy. Here mise en scene, in which actor performance is an essential part, has been raised by Visconti's direction to a level in which the history of class and sexuality in terms of power and history is literally embodied in a single scene.
To do this he has to overcome the protestations of both his wife and don Ciccio the Church organist who is an honest and faithful loyalist to the now deposed Bourbon dynasty. It is he who makes it clear to the Prince that the plebiscite in October 1860 was rigged by Don Calogero. The Prince is determined to make it as easy as possible for Tancredi and overrides these protestations. It is the Prince who has the foresight to be able to act in the interests of his class.
It is important to make a voluntary match of a dynamic couple bringing in new blood as well as money for his fortune must already be split seven ways. A match with Concetta would not be a happy one. The Prince also recognises that a match with another of
Throughout Visconti makes it plain that ‘being in love’ is more of a social mechanism than a permanent state of being. Throughout the film Concetta cannot get over Tancredi although he has never signalled any direct intentions towards her. She turns down other opportunities, and towards the end Angelica tells her that she needs to be more pragmatic and change her views. Concetta is stuck in a demure Catholicised torpor and shows none of the flirtatious dynamism required of Angelica if she is to make the grade in the new society. Concetta represents the fading world of the aristocracy of the past whilst Tancredi backed by the Prince recognises the mechanisms of social change and the need to adapt to survive.
Although many make a point of the Prince’s tiredness and awareness of death it is as a synecdoche of a fading class. The other family members are also highlighted like this at the ball for when the Prince is rejuvenated by his dance with Angelica; Concetta, her brother and mother look on totally enervated. They don’t appear to have the vibrancy to take a full place in the developing new Italy. By comparison just as the Prince is leaving the ball Tancredi tells him that he is going to be a candidate for the new government in Turin.
A role in government of the new order is something that the Prince recognises he cannot become involved in even when he is offered a place in the senate by Chevalley who is a representative of the Liberal regime under King Victor Emmanuel II. The Prince isn’t temperamentally trained or suited to making legislation and he also recognises that he is a part of the old order and someone who is sympathetic to it. Chevalley is disappointed and astounded, he is a Liberal idealist and he doesn’t at all like the suggestion of Segaro (Don Calogero) who he knows to be totally opportunistic and unscrupulous taking a political position. Nothing will change he argues. When Chevalley leaves the Prince famously comes out with the statement that the Lions and Leopards (the Aristocrats) will be replaced by Hyenas and Jackals. This is a reference to don Calogero’s abilities to gradually pick off the weaker aristocracy by gaining their land and then a weaker aristocrat (Tancredi) by marrying into the status (symbolic capital of the aristocracy). It was something that Visconti was familiar with from his own background.
Visconti’s representation of the Risorgimento
The film continuously critiques the myth of the Risorgimento as a homogenous struggle of the popular masses. It was a myth which the Italian centre and rightwing had long promoted and their resistance had led to Senso running foul of the censors. In The Leopard Tancredi and his officer friends who were Garibaldians have by the winter following their victory in Palermo changed their uniforms from Garibaldi’s Redshirts to being officers in the new Piedmontese army. They reappear at Donnafugata after November 1860 when Garibaldi would have entered Naples in triumph accompanying King Victor Emmanuel.
It was at this time that Garibaldi was offered the rank of Major General along with various privileges. These he turned down as he thought that his Redshirts were being badly treated by the Victor Emmanuel. Tancredi now represents the ruling elites who had been incorporated into the official forces. Some critics such as Bacon, have seen Tancredi as opportunistic ‘whereas Tancredi’s portrayal is nothing if not critical , that of the prince is quite the opposite...’ (p 94).
However Tancredi made clear at the outset that his allegiance was to Victor Emmanuel and that he was only a Garibaldian volunteer because there was no other option. The Prince has always understood the contradictions. In historical reality those who marched with Garibaldi were never an homogenous political grouping representing only a loose political alliance. Many Mazzinian republicans fought with Garibaldi working to a more radical agenda than Garibaldi would have supported.
It was another factor which caused the mistrust of Garibaldi amongst the elites as well as his adventurist approach in general. I argue that Tancredi is entirely true to his class position. By recognising that his material position isn’t good he is acting in both his own as well as his class interests this is why the Prince of Salina is supporting him. Concetta is entirely unable to understand the social and class dynamics of events. When Tancredi says that the rabble who deserted to support Garibaldi were justly to be executed Concetta rightly turns on him and says he wouldn’t have talked like that earlier, but no officer of any military force is going to look favourably upon mutiny.
The Prince’s class needs people on the inside and the fact that Angelica recognises the role of the Prince while they are dancing reinforces the point.
Garibaldi’s adventurism is commented upon in the Ball sequence for there the regular officers of the new Army of the now King of Italy, (Victor Emmanuel was crowned King of Italy in 1861), are talking about the Battle of Aspromante which happened in 1862.
The battle was between regular government troops and Garibaldi who had started a march on Rome from
This could lead to a false sentimentality for Garibaldi amongst audiences. Garibaldi himself was no radical politically. Despite appealing to the Sicilian peasantry by supporting land reform in the few weeks that he was in direct control of
Where the film functions well is in showing how the state was prepared to act very firmly in the interests of Liberalism which had clear strategic aims and an agenda. Adventurists like Garibaldi tied to an idealist concept of Nationalism were not the people who were going to develop and embed the new political order. A period of stability was required to consolidate and Garibaldi was stopped.
Here the Prince (Burt Lancaster) dances with Claudia Cardinale (Angelica) at the ball which takes approximately 40 minutes of the end of the film. It functions amongst other things as a public recognition of angelica as an arrivant. The scene cuts to the rest of the family watching the couple dance, with Concetta and her mother looking faded and draw. Again it is Visconti's use of mise en scene which encapsulates class relations and the underlying dynamics in an instant. This is part of the genius of Visconti.
Overall The Leopard makes it clear that nationalism as ‘the passion of a people for its Italian identity’ was never a reality. The Sicilian peasants needed deep seated social reforms. Visconti makes it implicitly clear rather than explicit that the rising power of the Jackals would do nothing to change the poverty which was endemic under the Bourbons. Chevalley represents modern social thinking which argues that good quality social administration would increase the lot of the poor. This was a position which was enacted for the first time under Bismarck of course. Visconti when interviewed later is firm on the point that his ‘pessimism’ within the film by not showing the rising peasantry leaves the intellectual space to imagine that something far greater than mere national unification is needed if social inequality is to be eradicated.
Elsewhere I will be posting an analysis of The Leopard combined with Visconti’s treatment of Nazism in The Damned (1969). In this I argue that Visconti has deliberately explored the failures of European Liberalism to be able to deliver the promise of social progress through a route which is dependent upon nationalism. It is nationalism which is ultimately irreconcilable with social progress and in its Liberal formulation is doomed to a failure marked by barbarism. Visconti by treating the Risorgimento as the highpoint of Liberal Nationalism is able to contrast it to the depths plumbed by Nazism. Interestingly revolutions of both a progressive and a regressive nature tend to eat their children, a point made by Zizek in his foreward to the recently reprinted book by Adorno In Search of Wa,gner (Verso, 2005):
Is not the key paradox of every revolutionary process, in the course of which not only is violence needed to overcome the existing violence, but the revolution, in order to stabilise itself into a New Order, has to eat its children. (Zizek, Slavoj, 2005 p xxvi).
This is something which Visconti clearly seems to understand for the closing scenes of The Leopard feature the sounds of the exectution of radical Garibaldians who have their opposite numbers in the slaughter of the SA in the 'Night of the Long Knives' which he depicts more openly in The Damned.
Link to Tales of a Festival site with link to live Visconti interview en francais!
Link to Buffalo film Seminar Series on The Leopard. contains extracts from both Nowell-Smith and Bondanella on the film.
For other internal links see:
April 11, 2007
(Please note this posting is still under construction)
I have now decided to open the page although it is still 'work in progress', however I have noticed that a few visitors are finding this page anyway. There are now a good range of hyperlinks provided and it is now functioning as a 'web-hub' from the Chronology of European Cinema Page for work on Visconti. My apologies to visitors for any inadequacies. Hopefully you will still find it useful for your purposes and better than anything else on the web currently available in English.
NB Hyperlinked filmography below
For all those visiting from the 'Chronolgy of European Cinema' page there is a hyperlinked filmography as well as a webliography below. The former takes you to the best articles I could find on the web on that particular film in English at the time of construction. If you have come across anything else which you consider better please drop a message in the comments box and I will relink if appropriate.
Forget Rossellini and Fellini - no one did as much to shape Italian cinema as Luchino Visconti. So why is he so underrated, asks Jonathan Jones
Audiences are always stratified and it crudifies the situation to suggest that there are only two of them, a “mass” and an “elite”. Many film spectators (not to mention readers of books or visitors to art galleries) do not fall into either category and would find insulting suggestions that they did’ (Nowell-Smith 2003: 219).
Below is a YouTube extract from BBC 4 Arena documentary The Life and Times of Count Luchino Visconti. The full two hour version is available with the BFI version of The Leopard.
A Brief Overview
The role of this article is to provide an overview of Visconti and to act as a web-based hub for visitors to gain more information about Visconti in a more organised way. Hopefully this will provide researchers at whatever level as well as people generally interested in Visconti with a useful service. More in depth articles on specific films are posted elsewhere and have been hyperlinked. As I come to consider Visconti's cinematic oeuvre in more depth I am increasingly coming to the conclusion that there is a strong case to be made for him being considered as one of the greatest of the World's directors. Obviously it is a contentious argument and one can immediately criticise it by pointing out that in terms of film form his work was not especially avante garde in the way that of his near contemporaries such as Antonioni's was, neither in terms of the Marxist that he was did his films focus upon class formulations in ways that promoted the working class as the historical agent of change in a didactic sort of way.
My case is being developed built on his attempts to develop a vision of the processes of historical change in a thoroughly artistic way following the work of Lukacs and using realism as a tool to examine key turning points in history as experienced through representatives of their class who were often aristocrats and royalty rather than horny handed sones of the soil. Yet Visconti has represented the Risorgimento very effectively firstly in Senso and later in The Leopard. With The Leopard I argue elsewhere that Visconti successfully brackets what many saw as the positivity of European Liberal nationalism of the 19th century and the demise of nationalism as a force for progress in the representation of the coming to power and the consolidation of that power in Germany as it falls under the power of the Nazis in The Damned. In this last mentioned film Visconti is not afraid to use more operatic approaches within his art shifting momentarily out of realism modes of expression through the Bazinian long take into moments of melodrama a term which is perhaps best thought of attached to a more Italianate meaning of the term which simply means music with drama rather than an over the top approach to everything exemplified in British TV soap operas for example.
It should not be forgotten that Visconti effectively represented many aspects of the marginalised and the working class in contemporary society as well firstly in Ossessione in an indirect fashion then in La Terra Trema which was originally designed as the first of a trilogy and interestingly represented regionalism as well with the film having to be subtitled into Italian for Italian rather than Sicilian audiences. The consolidation of the political right in power in Italy brought about a need for changes in approach and Bellissima starts to tackle the ideology of celebrity and the growing power of the media. In Rocco and His Brothers Visconti made an insightful critique of the economic forces which underly the processes of diaspora and migration something which contemporary British film makers are dealing with today.
Viscont's later films have often been associated with decadence and also his own personal predilections and history coming from an aristocratic background. Here it is important to differentiate between studies of decadence as an historical problem which often signifies a turning point in history manifest in the art and culture of the moment and associating the artist critiquing this type of society. Ludwig can be seen as a good exemplar of the historical film as the cultural impetus behind mid-19th century monarchy is represented as the end of an era. The rise of instrumentalism and bourgeois bureaucracies for modern industrial society were pushing aside the old regimes and Ludwig is as much about the rise of a German nationalism and Bismarckian realpolitick as a 'biopic' of the real Ludwig.
One cannot ignore Visconti's masterliness in the realm of mise en scene. Known as a perfectionist in the construction of props and clothing he was also a perfectionist in his use of music as a fundamental facet of mise en scene. Much of his work is also about music itself either directly or indirectly. Mahler, Wagner and the failure of culture to stand up to the pressures of the new barbarism at the core of Nazism are just some of the musical themes present in visconti's work. The theme of music and memory is present in Vaghe Stelle dell' Orsa / Sandra through the use of the late-romantic music of Franck and the use of American pop music to make an anti-Facist point in Ossessione amount to just the tip of the iceberg when it comes to Visconti's in depth of understanding of the use of music in his cinema. Perfectionism too was present in his dealings with actors. Whilst Visconti is known to have had a stormy relationship with Burt Lancaster in The Leopard mutual respect grew out of this and Lancaster supported Visconti in Conversation Piece as well as Bertollucci in 1900. The rise of Maria Callas as an opera star is attributed to Visconti and actors turned into stars such as Alain Delon and Claudia Cardinale have much to thank Visconti for.
Visconti then, became masterful in his film art which was informed by his widespread experience of theatre and opera directing. Visconti undoubtedly had personal vision and the determination to organise and develop his projects often against severe odds such as unsympathetic producers and a hostile political climate. The latter made it hard for him to make and to exhibit films such as Ossessione, Senso and Rocco and his Brothers.
It is the commitment to artistic integrity as well as his intellectual approaches combined with a deep knowledge of aspects of European history and culture which give his films such depth. Of course he worked with the best people he could find and many people were regular members of his team. It is this which precisely defines the successful auteur. There can be few people who attend screenings of Visconti films or buy the DVDs who are driven by the genre considerations of watching a costume drama. Visconti had an artistic and political vision that was expressed in the way his films were made as well as the content of these films. To provide deep readings of these films requires of the viewer an engagement with many important features European political and cultural history. However, it must be remembered that at the time of the making of films such as Rocco and His Brothers there would have been many Italians who identified with the economic migration that was such a strong feature of Italian life in the post-war "Economic miracle". Part of Visconti's genius was his ability to engage with and represent different facets of European society in different ways which still related to his political understanding of the world. If this was less obvious in his later work it doesn't make this work any less important and it challenges the viewer to engage with the periods of histoty and culture represented.
Visconti's films are perhaps perfect for the DVD era although most of his films are best experienced on the big screen. Their length is frequently inordinately long for a cinematic system geared to commerce rather than art and reliant upon the safe creation of genre output. Ludwig for example is aroung 4 hours long and the Leopard around three hours. The length of course relates more closely to operas and Italian audiences were far more used to this form across the classes than in most other countries. It is this cultural diifference which may have influenced Visconti to make such long films. They are films to which a viewer can comfortably return and gain new insights and meaning. They are unlikely to appeal to those brought up on the artifically dynamic editing styles prevalent in Hollywood. Visconti was a follower of the long take and the development of a complex mise en scene as methods of creating meaning in his films. Wholehearted engagement rather than just entertainment was at the core of his films but it is this approach which will help them to stand the test of time.
Below are some brief bigraphical notes and an overview of his main films. Where appropriate links are provided to more in depth approaches to individual films or perspectives. Some of the comments are thin as the films are not currently available in the UK on DVD or Video. These will be developed in due course. A hyperlinked filmography is provided and a webliography will take you to the best places in English on the web about Visconti and his work. A bibliography is now included and other bibliographical references can be accessed on the Italian Cinema Bibliography page.
Luchino Visconti died on March 17th 1976 just before he reached 70 years old. His health had been deteriorating since he suffered a stroke nearly four years earlier in July 1972. Visconti’s death can be seen as part of the end of an era within Italian cinema. De Sica had died the previous year and Rossellini the year afterwards.
Visconti made 14 full feature films, contributed episodes to several others as well as directing nearly twenty operas and over forty plays. As such Visconti can be said to have an understanding of the role of the arts well beyond the capacity of most film directors. Visconti also had a theoretical understanding based upon his own readings of the Marxist writers Gramsci and Lukacs which were reflected within his work.
Visconti was the son of a Milanese aristocrat on his father’s side and the daughter of a successful new industrialist on his mother’s side. Visconti was also gay. As an artist Visconti was interested in addressing a variegated audience who would be able to engage with the films at a number of different levels. As Geoffrey Nowell-Smith points out:
Audiences are always stratified and it crudifies the situation to suggest that there are only two of them, a “mass” and an “elite”. Many film spectators (not to mention readers of books or visitors to art galleries) do not fall into either category and would find insulting suggestions that they did’ (Nowell-Smith 2000: 219).
Visconti the formative years: from the 1930s to Ossessione (1943)
Visconti’s first work had been as a race horse trainer, an occupation in which he was successful. Visconti had a restless mind and he was never going to be totally satisfied with this as a career. In the early 1930s he was increasingly drawn to Paris and as the decade proceeded he visited more frequently and for longer periods.
As an aristocrat is was fairly easy to access the artistic and intellectual circles of Paris. Compared to the cultural straightjacket of Mussolini’s Italy Paris was seething with experimental ideas and it proved to be formative for Visconti intellectually, politically and sexually.
Above Coco Chanel
Through Coco Chanel Visconti was soon in touch with many leading lights of the Parisian avant-garde such as Jean Cocteau, Kurt Weill, and Marlene Dietrich. Being in Paris afforded Visconti the opportunity to see films banned in Italy. These included works of the leading avant-garde film makers such as Bunuel, Dali, Cocteau, Pudovkin and Eisenstein.
Politically the decade was a formative one for Visconti as the political polarisations in Europe deepened. Initially he had a tendency to favour the right which was growing in France as elsewhere however he moved away from:
“false nationalistic pride, Fascist rhetoric and his habit of emphasising his aristocratic background” notes Bacon (1998, p 6).
1936 was the major turning point in Visconti’s life. The Popular Front in France had won a significant election victory that year which stemmed the growing tide of right wing nationalism amongst the French. Coco Chanel had introduced Visconti to Jean Renoir and his film making colleagues. All were strongly sympathetic to the Popular Front and this helped develop a different perspective on politics for Visconti. At the same time Renoir was pioneering new aesthetic methods. Toni (1935) had become a turning point in cinema described by Raymond Durgnat as:
… the point at which the whole documentary movement of the French cinema achieved its fullest coalescence with the fiction film. (Durgnat, cited Bacon 1998, p 7).
Renoir has commented about his objectives through this technique:
My aim was to give the impression that I was carrying a camera and a microphone in my pocket and recording whatever came my way, regardless of its comparative importance. (ibid)
Although Visconti’s aesthetic style turned to be very different to Renoir’s some of the underlying aesthetic principles became important to Visconti:
From the moment I realised the importance of unity I tried never to shoot a scene without some background movement more or less related to the action… Another of my preoccupations was, and still is, to avoid fragmentation, and by means of playing longer shots to give the actor a chance to develop his own rhythm in the speaking of the lines. To me this is the only way of getting sincere acting. (Renoir “My Life and My Films” cited Bacon 1998, p 7)
Visconti had made his first film in 1934 which Bacon describes as a little 'Bunuelesque', however the film hasn’t survived and the evidence suggests that it was an amateur affair. Visconti had learnt some photographic techniques from his current partner Horst who was a photographer. Visconti’s first professional acquaintance with the cinema appears to have been as Third Assistant Director to Renoir on the set of Une partie de campagne (A Day in the Country) in 1936. The film wasn’t released until after the war in 1946. Visconti’s role was to design and produce the costumes.
Visconti has claimed it was through politicisation that he started to make films with Renoir. However Bacon cites Ronolino’s book 1981 book on Visconti which argues that he took no strong political views on any pre WW II events including the Spanish Civil War.
Writer and Set and Costume Designer
At this time Visconti also played with the prospect of being a writer and two drafts for novels still survive. Bacon notes that these drafts: reveal Visconti’s obsession with detail. This level of detail can bog down the flow in a novel however in a film through mise en scene it can considerably enrich the cinematic experience and this points to the importance of using mise en scene criticism when studying Visconti’s films.
Visconti also started to work in theatre at this time. In 1936 he designed the sets and costumes for a production of Carita Mondana (Mundane Charity). This production took place in the Teatro Sociale in Como. This was followed by a production of Jan Mallory’s (Joyce Carey) Sweet Aloes. This was also produced in 1936 and ran at the Teatro Manzoni in Milan.
Visconti followed this by a trip to Hollywood. However it seems that this wasn’t a successful time and both Stirling in his Screen of Time and Servadio in Luchino Visconti both note that he never talked much about the experience.
By 1938 Visconti was back in Italy and involved in theatrical production this time producing sets and costume design for Il Viaggio (The Voyage) by Henry Bernstein whom he had met in Paris.
Giacomo Puccini the composer of Tosca
The next film that Visconti became involved in was Tosca (1940). This turned out to be a particularly odd production. Jean Renoir was formally invited to make the film by the Italian government despite the fact that La Grande Illusion (1937) was banned by the Fascist government because of its political sympathies. According to Bacon the idea had originated from Mussolini directly. Mussolini in fact held a copy of La Grande Illusion in his private collection. As far as consistency in Fascist cultural policy was concerned this was: a prime example of its arts policy (Bacon p 9).
At the time this formal invitation was extended Mussolini had become a formal ally of Nazi Germany and at this time France had already declared war on Nazi Germany in September 1939. Renoir had already been called up and was serving as an officer in the French Army. The French government sent Renoir to Italy in the hope that this might allay any outbreak of hostilities.
The Tosca starred Massimo Girotti (seen above in a different role in Ossessione). Girotti was the leading actor in Visconti's first full length feature film Ossessione.
Visconti worked on the script of Tosca with Renoir and his main assistant Carl Koch. However the international tension was mounting and Nazi Germany was making an increasingly obvious presence in Italy to pressurise Italy to declare war in support of Germany. As a result Renoir and all his French team returned to France shortly before hostilities broke out. Koch who had a German passport and Visconti were left to finish the film. This they did although Visconti has described it as a a ‘horrible film’. One important stepping stone for Visconti was that making it introduced him to the powerful Italian critics and other parts of the circle around cinema.
Visconti became increasingly drawn into this circle based around Cinema which had amongst its contributors several important critics who were to become important film directors. These included Giuseppe de Santis and Michelangelo Antonioni. Most of the critics were left of centre while Vittorio Mussolini (Mussolini’s son) was the editor in chief. Politics wasn’t discussed openly and Vittorio wasn’t around for a lot of the time and didn’t deal with day to day editorial decision making according to Bacon.
Effectively the magazine became a site of fracture within Fascist cultural policy as it afforded the opportunity to write more critically yet at the same time to have the veneer of official approval. It can be seen that cultural policy was applied unevenly sometimes with Liberal writers such as Carlo Levi being sent into internal exile (Christ Stopped at Eboli being his memoirs of this which was later made into a film by Rosi). Martin Clark has suggested that intellectuals were usually bought off and flattered rather than repressed as was the case in Germany
Ossessione & La Terra Trema
Visconti's films Ossessione and La Terra Trema respectively marked the precursor to neorealism as a movement whilst La Terra Trema is a core film of the neorealist movement. I have currently no time to provide a fuller evaluation of these films however they are both partially covered in the entries
Italian Neorealism: an Introduction and the review Italian Neorealism: Rebuilding the Cinematic City
From Neorealism to Neorealism Rosa: Bellissima
The well known post-war history Italian Cinema by Peter Bondanella surprisingly fails to mention the film Bellissima at all. This film is very important for a number of reasons. It marks a transition from Neorealism to post-neorealism within Italian cinema; it is a meta-cinematic film which deals in a biting comedy a critique of the institution of cinema itself – it thus predates Fellini’s well known La Dolce Vita (1959) by several years; it can be taken as a strong indirect critique of the political direction Italy was taking at the time as well as a critique of the Christian Democratic government's relationship to America it gives many insights into the way Visconti worked as a director with his performers (Anna Magnani & Alessandro Blasetti); lastly and by no means least as a film it is good viewing – it appears as a favourite of Richard Dyer’s in one of Sight & Sounds surveys about favourite films of critics. For an in depth dicussion of this film please go to my review of the 2007 release of Bellissima by Eureka Video.
It is important to emphasise that Visconti was also working within an Italian framework. The Italian audience has an operatic culture which is popular across all classes. The binary division of opera into an elitist art form doesn’t operate in this culture as it does in Britain. Indeed one can point to the operatic form as becoming associated with the Risorgimento the emergence of the Italian nation in the 19th century itself. Visconti’s texts are knowingly multidimensional. Despite many criticism of the auteur within film criticism which seems to deny that a director can be an inspirational power behind a work of art Visconti is clearly exceptional. Arguably this is the time for a thorough re-examination of his work at least in the Anglophone countries. As Nowell-Smith has pointed out there has been a paucity of critical work and the films little seen.
The kind of film-making in which Visconti was engaged throughout his career... was a kind which put the director at the centre. The director chose the scriptwriter, the actors, the leading technicians, the editor. The director even chose the producer... Visconti’s films were all his in a way which other directors, not only in Hollywood but also in Italy, could only envy. Under these circumstances, auteurism and anti-auteurism become irrelevant categories’ (Nowell-Smith, 2000: 221-222)
Rocco & His Brothers
Visconti’s cinema always constituted a sophisticated analysis of these processes of social change. Rocco and His Brothers (1960) is a logical step from La Terra Trema (which is dealt in more detail below). A family from the mezzogiorno (deep south) have arrived in Milan a new centre of industrial expansion feeding the Italian economic miracle sucking in labour from the periphery. The response to this forced structural change by each of the four elder brothers corresponds to the range of individual responses which this enormous transition embodied.
The eldest brother had already become established in Milan, with a fiancé. The family arrival caused disruptions of loyalties causing a temporary split. The Sicilian machismo of Simone represents an ideology of the past unable to accept the necessary individual sacrifices to industrial disciplining either through education or within the professionalising cultural industry of boxing. Initial success came easily as Simone had strength and natural talent and was attractive to women. Seduced by a fellow immigrant turned prostitute, another side of the ‘cultural industry’ complex, Simone finds he cannot ‘own her’, and that whilst she like the detective is able to cross formal boundaries of society through hypocritical sexual mores Simone is excluded from refined society. Simone’s inability to control the situation causes a crisis of masculinity and his ultimate decline into alcoholism and the basest of acts. Simone ends up killing Nadia who had left him to return to prostitution and a level of independence. In between Nadia had fallen in love with Rocco. Simone on learning of this had raped Nadia in front of Rocco who was held back by Simone’s lumpen-proletarian acquaintances. Rocco is then beaten up by his brother to assert traditional male dominance. Rocco accepts this traditional dominance and also becomes a boxer mortgaging his future earnings to try and keep Simone’s debts under control.
Rocco’s quietitude and a 'Christian' martyrdom in the face of traditional family ‘values’ and Sicilian masculinity are contrasted with Ciro. Ciro has understood that the way forward is to establish himself through education. He struggles hard at night school to get the qualifications for a good factory job. Eventually he becomes a skilled worker at Alfa-Romeo. The industrial disciplining of the factory system signified by the factory whistle at the end of the lunch-break also represents the solidarity of the workforce who are supportive to Ciro when he is upset in a talk with his youngest brother Luca. Ciro sees the future in Luca telling him he will be the one who will have the luxury to return to their original homeland in recognition of the processes of modernity change the balance of society. Ciro also supports the growth of modern institutions seeing in them a force of progressive change. It is Ciro who ‘betrays’ the traditional familial quietitude about gross and murderous behaviour by reporting Simone to the police. The rational rule of law can work in favour of the working class and is superior to the outmoded and archaic attitudes of the past. It is Ciro who has recognised that a fundamental adaptation is required if the family is to successfully survive at the other end of this enormous transition.
It is worth noting that a new version of Rocco is due out in February 2008 from the Eureka Masters of Cinema Series and this may provide some useful insights into the film.
Il Gattarpardo / The Leopard (1963)
Visconti’s intellectual, political, historical and cultural concerns then bring us to what are frequently described as his films of the Risorgimento, the Italian bourgeois revolution. Firstly Senso then The Leopard. Based upon the historical novel of the same title, The Leopard was set in
Bondanella reads Visconti as having sympathy with the Prince who in front of a painting The Death of a Just Man, imagines his own death. In this sense the film is a ‘Chronicle of a Death Foretold’, the recognition of the passing of an historical period and the inception and establishing of a new social order. However the sound of the volleys of a firing squad in the distance as the Prince walks home, indicate that the new order is already establishing itself by brutal means, and the hopes of the peasants and workers are foreshortened. Whilst for Bondanella the ‘epic sweep’ of the sets and costumes threatens to overwhelm the historical message, it is quite reasonable to suggest that the historical paradoxes are heightened by the mise-en-scene.
A Hiatus of Content and Criticism
After The Leopard there seems to be a general hiatus in both criticism and the availability of Visconti's work to watch and to develop further ideas about his ouevre. Hopefully this blog will contribute to a wider discourse which seeks to re-establish and re-view afresh this work of Visconti's from the middle period of the 1960s. The films concerned include Vaghe Stelle dell' Orsa / Sandra 1965 and Lo Straniero (The Stranger / The Outsider) (Italy 1967). Currently (December 2007) neither of these films appear to be available in English.
Vaghe Stelle dell' Orsa / Sandra was a modern interpretation of the Electra myth in which the Torjan War was replaced by the concentration Camps of the Second World War. Instead of Agammemnon being murdered by Aegisthus and Clytemnestra here Sandra (played by Claudia Cardinale) suspects her mother and her lover of betraying her Jewish father to the Nazis. Bacon (1998) comments that:
In Sandra the fate of the Jews in the Second World War functions as a metaphor for the entanglement of victimization and groundless accusations practised in the end by Jews and non-Jews alike. (p121)
Visconti himself notes the deep ambiguities in the film:
All the characters excpet Andrew are ambiguous. He would like to find a logical explananation for everything, instead of which he finds himself in a world dominated by the most profound, contradictory and ineplicable passions... (Cited by Bacon 1998 p 120).
These are not dissimilar themes to ones which were eplored by Bertollucci firtstly in The Spider's Stratagem and then in The Conformist. When one adds Bellocchio's fascinating first feature into the mix - Fist in the Pocket - one can see that themes of the family in crisis were apparently being played out to quite an extent in the Italian cinema of the 1960s. At the same time there was a reckoning being made with the fading memories of Nazism and Fascism which had been cut short with the return of a right wing government at the end of the 1940s.
The 'German Trilogy'
The Damned (1969) Death in Venice (1971) and Ludwig (1973) are known as Visconti’s ‘German Trilogy’. Here Visconti examines the decadence of the Belle Epoque, the corruption and confusion behind the rise of Nazism in Weimar Germany, and the story of Ludwig II of
Some critics have managed to conflate a representation with a notion of sympathy in the director. This has the effect of undermining the subtle Marxism of Visconti from those either unfamiliar with or hostile to that particular intellectual heritage. Bondanella reviews the critical outputs on these films as follows:
Many European critics have tried to interpret Visconti’s German trilogy as a serious, historical vision of Germany’s flirtation with romantic idealism and its subsequent perversion in the Nazi era. But the three films fail to provide any coherent explanation of such a complicated process. It is far more accurate to conclude that in this trilogy Visconti has allowed his taste for visual spectacle, as well as his own personal preoccupation with old age, solitude ugliness and death to overwhelm his philosophical or cultural intentions.’ (Bondanella , 2002 p 20
In The Damned the representation of the infamous ‘Night of the Long Knives’ when the SS slaughtered the leadership of the sexually transgressive SA of Eric Rohmer, links the growth of Nazism to a crisis of masculinity, and also explores the homo-erotic bonding of militarism which repress its own sexual excess instead transferring that into compulsory heterosexuality in tandem with patriarchal family values.
Death in Venice links Thomas Mann and Mahler, artists of the period, with a desire for youth represented as homosexual longing which was an impossible desire at that time. Representing a crisis where the new generation will be fundamentally different whilst the once resplendent Venice the most dynamic city in Europe of the Early and middle Renaissance is decaying, riven by a pestilence of a more Mediaeval type. This isolation of the wealthy and their retreat to decadence is a representation of modernity as conquering the old, marginalising the ancien regime.
In Ludwig the king is seen as amusing himself with musical projects whilst his generals are unable to act as the Prussian Army under Bismarck will ultimately defeat
Whilst in Italy there was some hope for progress, in a more democratic sense, both
Gruppo di Famiglia in un Interno (Conversation Piece): (1974)
(Apologies still under construction)
L'Innocente (The Intruder): (1976)
(Apologies still under construction)
Visconti decided to do an adaptation of D'Annunzio's L'Innozente. This was his last film for he died on March 17th 1976 whilst was in its editing stage. As Bacon points out these later works of Visconti's reading Sandra as a turning point in his approach have frequently been read as 'decadent':
...an expression of an aging director's morbid fascination with the themes of sickness, decay and death. On the whole it has not always been clear whther the label of decadence is a reference to the subject matter, the style or both, or whther it is used simply as a perjoritve term. (Bacon, 1998 p 214)
Appunti su un fatto di cronaca (Italy 1951) Director
Ossessione (Italy 1943)
Giorni di Gloria (Italy 1945 - Director of one episdode)
La Terra trema (Italy 1948)
Bellissima ( 1951)
Siamo donne (We, The Women) Italy 1953 (Director of 1 part in 5)
Senso (Italy 1954)
Le Notti Bianchi (The White Nights) (Italy 1957)
Rocco e I suoi Fratelli (Rocco and his brothers) (Italy 1960)
Boccaccio '70 (Episode title Il Lavoro / The Job) (Italy 1962)
Il Gattopardo (The Leopard) (Italy 1963)
Vaghe Stelle dell' Orsa (Of a Thousand Delights) (Italy 1965). I was unable to find one good or even reasonable entry in English on this film despite looking under the Italian and French titles on the search engine. It is clearly a gap which need spaying attention to!
Le Streghe (The Witches) (Italy 1967). 1 part in 5 episode title La Straga Bruciata Viva)
Lo Straniero (The Stranger / The Outsider) (Italy 1967). This is the only vaguely reasonable link I could find on the search term The Stranger / The Outsider which shows that this film is need of publication and a radical reassessment.
La Caduta degli Dei (The Damned) (Italy 1969)
Morte a Venezia (Death in Venice) (Italy 1971)
I' Innocente (The Intruder) (Italy 1976)
The British Film Institute Luchino Visconti Feature
BBC Arena Page reporting on the very good BBC documentary the Life & Times of Luchino Visconti
Ossessione Review by Richard Armstrong on the Kamera Site
Johnathan Jones The Guardian 2001 asks why Visconti is so neglected?
David Thompson Guardian article The Decadent Realist
This article by David Thompson is possibly the worst article on Visconti I have ever seen from somebody who is reputedly meant to have a good understanding of cinema. Whatever else, this is a vituperative piece of nonsense. Make sure you break the NHS prescribed amounts of salt when you read this. I have included it because the writer is well known however inclusion does not amount to a recommendation, it does show what Visconti was up against in terms of the petulant jealous petit-bourgeois failed intellectuals (maybe there are advantages to being an aristocrat after all :-) ).
Derak Malcolm Guardian article on The Leopard
Pete Bradshaw Guardian on Death in Venice
Phiip French Observer on Death in Venice
Guardian / NFT Question and Answers with Claudia Cardinale
Guardian / NFT Part 2 with Claudia Cardinale
San Francisco Film Society Dennis Harvey on Visconti
Strictly Film School Blog on Visconti
Premuda, Noemi Luchino Visconti's Musicism (You will need a JSTOR account to access this article)
BBC 4 Arena article about the 2 hour documentary on Luchino Visconti
Film and Literature. The Case of "Death in Venice": Luchino Visconti and Thomas Mann
Hans Rudolf VagetThe German Quarterly, Vol. 53, No. 2 (Mar., 1980), pp. 159-175doi:10.2307/405628
This article requires JStor access.
Marxism and Formalism in the Films of Luchino Visconti Walter F. Korte, Jr.Cinema Journal, Vol. 11, No. 1 (Autumn, 1971), pp. 2-12 doi:10.2307/1225346
This article requires JStor access.
Peter Brunette in film and Philosophy: Review of Nowell-Smith's third edition book on Visconti
Visconti's Cinema of Twilight by Maximilian Le Cain in Senses of Cinema site
by Privitello on Senses of Cinema site.
Bertellini, Giorgio : A Battle "d'Arriere-Garde": Notes on Decadence in Luchino Visconti's "Death in Venice" . (This requires JSTOR access)
Hide in Plain Sight: An Interview with Piero Tosi. Drake Stutesma. Project Muse PDF from Framework 47
Visconti Revisited: Take 2 . Senses of Cinema Review of Nowell-Smith's 3rd re Visconti 2003.
Bacon, Henry. 1998. Visconti: Explorations of Beauty and Decay. Cambridge: Cambridge University Press
Bertellini, Giorgio Ed. 2004. The Cinema of Italy. London: Wallflower Press
Bondanella, Peter. 3rd edition. 2002. Italian Cinema: From Neorealism to the Present.
Hipkins Danielle. "I don't want to die": Prostitution and Narrative Disruption in Visconti's Rocco and His Brothers', in Women in Italy 1946-1960, ed. by Penny Morris (Basingstoke: Palgrave Macmillan, 2006), pp. 193-210
Hudson, Anne. ‘Rocco E I Suoi Fratelli / Rocco and His Brothers. Bertellini, Giorgio. 2004. The Cinema of Italy. London: Wallflower Press
Landy, Marcia. 2000. Italian Film. Cambridge: Cambridge University Press
Marcus, Millicent. 1993. Filmaking by the Book. Baltimore: John Hopkins University Press
Marcus, Millicent. 1986. Italian Film in the Light of Neorealism. Princeton: Princeton University Press
Nowell-Smith, Geoffrey. 2003 3rd edition. Luchino Visconti. London: British Film Institute
Rohdie, Sam. Rocco and his Brothers. London: BFI
Sellors, Paul. C. 2004. 'Senso'. In Bertellini, Giorgio Ed. 2004. The Cinema of Italy. London: Wallflower Press
Wood, Michael. 2003. ‘Death becomes Visconti’. Sight and Sound , May 2003 Volume 13 Issue 5 , pp 24-27
DVD Availability in the UK
This link to Moviemail gives a list of Visconti films currently available on DVD in the UK