Luchino Visconti’s Death In Venice is an adaptation of Thomas Mann’s novel; it follows Gustav von Aschenbach (Dirk Bogarde), a composer who, due to ill health, comes to Venice. The film explores the encounter of true beauty amidst the decay – Venice is struck down by a plague toward the end of the film. The music present throughout the film are Gustav Mahler’s the Third and the Fifth symphonies. The main character is himself a composer, while in the novel he is a writer. This change made by Visconti is important since it highlights the musical nature of the protagonist and connects him to the romantic music we hear throughout the film; it amplifies the intensity of Gustav’s feelings, but also provides a setting which facilitates the contemplation of beauty. Gustav is infatuated with the beauty of a stunningly beautiful youth.
The Nietzschean concepts of Apollonian and Dyonisian are particularly relevant to the film; the protagonist, as his friend makes a remark in the flashbacks we see in the film, sets high moral standards of perfection and restraint upon himself (the Apollonian element) and suppresses the irrational and passionate Dyonisian element. During the flashbacks, we witness the conversations of philosophical nature regarding the role of the artist and whether the artist creates from the spirit or, as his friend suggests, through the senses. Gustav’s friend despises his self control and the lack of passion for things, his sterile self-composure. The artist “feeds” himself upon the decay and sickness, his friend emphasizes, and good health is a dry thing, as well as the neglect of the passionate, sensual encounter with the world.
Genius is a divine gift. A sinful morbid flash fire of natural gifts.
When Gustav comes to Venice, he encounters a grotesque figure wearing make-up and later in the film he himself tries to look youthful and gets a similar make-up resembling a death mask. Upon arriving to Venice, a corrupt gondolier takes him in the direction he doesn’t want to go; this points to the fact that Aschenbach’s encounter with Tadzio is not an act of his will, as he sees him he is momentarily infatuated and cannot escape the admiration of beauty he sees. Since Gustav is a composer in Visconti’s film, this may imply the decadence of music in contemporary times, a topic interestingly explored by Theodor Adorno.
In other words, degeneration and decay, the possibility of encountering beauty in its purity is the main theme of the film. Gustav says that at his father’s house he had an hourglass and that “the aperture through which the sand runs is so tiny that… that first it seems as if the level in the upper glass never changes. To our eyes, it appears that the sand runs out only… only at the end.” The perception of timelessness during the contemplation and admiration of beauty is deeply present throghout Death In Venice.
You must never smile like that. You must never smile like that at anyone. I love you.
Gustav von Aschenbach
In Plato’s dialogue thematically dedicated to eros and love, Phaedrus, Socrates says that although madness can be illness, it can bring us blessings. This form of “divine madness” is love that comes from gods Aphrodite and Eros. We can see that Gustav, after seeing Tadzio on the beach, starts composing, while we can assume that, due to his illness, he was not artistically productive before that. For Plato, the madness of love arises from seeing beauty and being reminded of true universal beauty. Gustav is vilely distressed when he does not see Tadzio and joyous when he does, he is completely obsessed with the boy; he does not engage in contact with him until the last part of the movie. Tadzio is for Gustav, and for Visconti as a creator of art, an artistic form itself, like an ancient statue that majestically shines in the sun.
Whether Gustav’s affection for Tadzio is sensual is debatable, but the impression the film leaves is that Tadzio is a manifestation of Gustav’s obsession with beauty and perfection and that that relationship is erotic in the Platonic sense of the term. If we borrow Plato’s vocabulary, Gustav is “reminded” of the universal beauty which Tadzio represents in the material form. When he touches his hair and his hand shakes, it can be compared to the child’s desire to touch statues at a museum, but knowing that it is forbidden.
For Gustav this is forbidden, not only because of the social conventions, but because by experiencing beauty through the senses the Platonic element of observing the earthly reflections of the idea of beauty is compromised. Tadzio’s smiling to him compromises the aesthetic experience as well, since it brings an element of the emotional and sensual. In this moment, Gustav’s degeneration commences regarding to experiencing Tadzio as a reflection of Divine Beauty.
No, Gustav, no. Beauty belongs to the senses, only to the senses.
In the ending scene, when Gustav is dying on the beach and observing Tadzio as he is illuminated by the Sun in the sea, blood is trickling down his forehead, the artist dies while observing sublime beauty. Symbolically it conveys the moment in which the artist creates works of the purest aesthetic value and his decline as an artist commences. It also points to an aesthetic experience which is an everlasting benchmark for comparison with other objects of aesthetic appreciation, bordering on adolation.
When an artist reaches the zenith of his abilities, only decadence can follow, since all living things either grow or decay. Old age and decadence are contrasted with youth and purity. Gustav’s friend Alfred says to him that he has never possessed chastity since purity is a privilege of youth: “In all the world, there is no impurity so impure as old age.” The film’s title Death In Venice (Venice is often called serenissima – “the calmest”) carries an explicit allusion to sickness and decadence (the plague) which are juxtaposed to purity and beauty (Tadzio); a synthesis is formed out of oppositions. Thus, art is only possible in the realm of finality and entropy; nevertheless, when the screen freezes, the beauty is preserved.