Dying to the beauty of burnout

  The 1971 film “Death to Venice” brought together masters from three fields: the musician Gustav Mahler, the writer Thomas Mann and the director Lucino Visconti.
  Thomas Mann, winner of the Nobel Prize for Literature in 1929, is also one of the greatest German writers of the 20th century. His novel “Soulbroken in Venice” was written after the death of the outstanding Austrian composer Gustav Mahler. It is a gay novel based on Mahler’s prototype. We don’t know whether Mahler was gay or not, but Thomas Mann was excited to discover the hidden homosexual tendencies in Mahler’s Eighth Symphony, and felt “his dark passion suddenly brightened”.
  Soul Broken Venice is actually the autobiography of Thomas Mann. In the diary published after his death, people finally discovered the real secret behind the seemingly sweet family life. It turned out that Thomas Mann’s love object was never his wife, but a young male violinist. Such a story is definitely an irresistible temptation for Italian director Lucino Visconti, who once announced his bisexual identity. At the time of his dying years, he put “Soul Broken Venice” on the screen, for us Dedicated a swan song of classical aestheticism.
  What’s more coincidental and meaningful is that when Visconti adapted the original work, he changed the original protagonist Gustav Aschenbach’s identity as a writer to a composer. This wonderful change did not deconstruct Thomas. Mann’s creative intention, instead, overcomes all obstacles from novel to film. Because Thomas Mann was indeed based on Mahler, he changed Mahler’s occupation to a writer just to avoid suspicion. Visconti’s change not only restored the authenticity of the characters to a certain extent, but also made it easier to Borrow Mahler’s music to express Aschenbach’s hidden love.
  There is not a single dialogue between the two protagonists Aschenbach and Tacio in the film, it is completely Aschenbach’s pursuit, love and death, sometimes mixed with Tacchio’s seemingly absent temptation, while Mahler’s first. The Five Symphony will always sound at the most intense moment, and it will become a bridge connecting the story and the emotional ups and downs of the characters. In this way, novels, music and images are beautifully blended together, making the film “Soulbroken Venice” express a kind of exhaustion beauty that transcends the personal soul, decadent, yet fatally attractive.
  
  The Spirit and the Flesh of Love The topic of
  
  homosexuality , whether in the past or in the future, will be an obscure taboo. The reason why “Death in Venice” can stand out among many stories of same-sex love is that Thomas Mann and Visconti endow it with a refined core. From the film, we can not only see the incapacity and desire of the composer Aschenbach to this kind of love, but also can see the debate and anxiety about his artistic positioning in his heart. Tacchio’s beauty expresses the vague definition of beauty in art.
  At the beginning of the film, Aschenbach told a story about the hourglass when chatting with his friend Alfred. He said that time is like water disappearing into the sand, and many things have no time to think about, and there is no room for redemption. At this moment, Aschenbach was tired of fame and came to the dull and gloomy Venice, and even his body was overwhelmed. Tired of life and lost in art, Aschenbach was at the most tired and sleepy moment of an artist. At this moment, he met Tacchio, a noble boy. Under the amazement, Aschenbach used the most daring act he could make to peep at the Apollo in his heart. This kind of face-to-face shocking sensual beauty completely broke Aschenbach’s previous definition of artistic beauty. He was amazed at the beauty that directly obtained God’s gift without labor, and at the same time felt ashamed that he was so easily tempted , Under the torment of these two emotions, On the one hand, Aschenbach has to act like a gentleman, and on the other hand, he has to observe and carefully explore the hidden charm of Tacchio’s frown and smile.
  From the sleepiness of art suddenly fell into a powerful sense of beauty, this uncontrollable external force made Aschenbach feel at a loss, he was afraid, trembling, anxious, hysterical; unable to restrain himself, and innocent Tacchio, always used the calm A beautiful face, calling Aschenbach not far away. Thomas Mann wrote in his novel: “Almost every artist is born with a willful and evil tendency to admit the injustice caused by ‘beauty’, and to sympathize and worship this aristocratic partiality. .” The chat with Alfred was like Lucifer opening the gate of hell and releasing the demon in Aschenbach’s heart. In a sense, if Aschenbach does not have a keen sense of art, then no matter how beautiful Tacchio is, it is only his sensual and sensual pursuit, and cannot rise to a fierce battle at the spiritual level. Art life makes people feel Greater happiness also causes people to age faster. The superb artistic conception of the beauty of art will make people excited and tired, which is not understood by those who are indulged in sensuality. Aschenbach feels happy and rejuvenated. sad.
  The feeling of being bound is naturally thinking of escape, and Aschenbach’s clumsy escape finally ended with a complacent return, which he believed was destined to return to Tacchio’s side, regardless of the crisis at the moment. Aschenbach has fully acknowledged his love for Tacchio at this time, he is calm and confident, and feels happy to be able to guard Tacchio by his side. He silently waved to Tacchio from the window, with infinite love in his eyes. . And he was so old. Seeing Tacchio and his young friends playing on the beach, the strong tumbling of sexual implication stimulated Aschenbach’s fragile heart, and he wanted to stop it but was powerless. At last, he took the first step from the sight of the soul to the contact of the body. He followed the Tacchio family with a ghost like a charm, and walked through the dirty and slippery streets. I cried bitterly, mourning for my unspeakable love.
  Finally, he mustered up the courage to go to the barber shop to beautify himself, dressed as the powder he once hated the most, and at this time he was extremely happy, because it was so sad and embarrassing to finally be able to touch Tacchio with his young face. Under the warm orange sun of Venice, Aschenbach sat on a reclining chair and watched Tacchio play with his companions feebly. The helplessness of time, the correction of gender, and the long distance made him always fall in love as a bystander. Tacchio. Hallucinations, sweat, trembling, Aschenbach tried his best to hold Tacchio’s hand pointing into the distance, but he went to the end of his life in convulsions. A black liquid flowed down from his forehead, it was truly terrifying, it was the concoction when dyeing his hair.
  
  The previous life or the present life of death
  
  ”Soul Break in Venice” can only be understood from the meaning of the title, and it is already clear that the characters in the play cannot escape the ending of death. In fact, in addition to expressing erotic desires entangled in art, the topic of death has always been accompanied by the inner and outer aspects of film production, past or present life.
  We can see that it was because of the death of Gustav Mahler that Thomas Mann had the inspiration and desire to write based on him, and Visconti, who was in his dying years, was also after the death of Thomas Mann. Adapted his novel into a film, which became Visconti’s masterpiece. The three masters are in the same line in emotion and destiny, which makes the film “Soulbreak Venice” full of a strong sense of despair and death.
  From novels to movies, Thomas Mann and Visconti use all kinds of implied means to echo the irreversible fate of the title. When Aschenbach first came to Venice, the rower he met on the gondola was set to be Charon, the messenger who was ferrying to Hades, the underworld king. The boatman did not sail to the steamboat pier according to Aschenbach’s wishes, but Emphasize to go to the beach, because there is a beautiful young Tacchio. The gondola, a rare means of transport that has been handed down since the era of singing folk songs, was painted black, like a dark silent coffin. The boatman let Aschenbach take a coffin-like boat, just like Charon ferrying a dying soul to the underworld and handing him over to another beautiful god of death, who is Aschenbach’s love and destiny: Tacchio. At this time, Aschenbach was anxious, but it was difficult to explain this strange feeling, and he could only attribute it to the extortion of the boatman, not knowing that this was the beginning of the death journey.
  Venetian sultry winds and the occasional fallen people were the harbingers of the spread of the plague. The bright, sweet and lovely strawberries are a rare consolation for Aschenbach in his spare time. He indulged himself in the temptation of beautiful fruits, but buried hidden dangers for his body, Visconti told us through the mouths of tourists. Dangers of eating fruit in sweltering weather, Aschenbach is one step closer to death.
  When the clown-singer appeared, Aschenbach was in the throes of love and could not extricate himself from it. Out of concern for Tacchio’s life, he keenly smelled the smell of carbonated water from the clown this time, which was the smell of disinfectant. , again in the shape of death. Aschenbach lured the clown with money, hoping he could tell the city’s hidden secrets to tourists, but the clown played Tai Chi and slyly told Aschenbach that everything was peaceful. Aschenbach understood the urgency of the matter but could not do anything, because the garden was full of laughter, singing and dancing, and the clowns sang obscene songs for the nobles, and the funny and inexplicable laughter seemed to ridicule the nobles without knowing it. status quo. Although it can only be a plaything for people’s amusement, under the threat of death, this secret gives the clown the right to manipulate the fate of others. In the face of death, everyone is equal.
  Finally, the decaying streets of Venice were filled with the smell of disinfectant, and fireworks swept over everything that was infected. Aschenbach was deeply desperate. He hoped that the Tacchio family could leave the right and wrong place as soon as possible, but he was often anxious about Tacchio’s accidental disappearance. He looked haggard, his body was weak, and he could fall down anytime, anywhere, and he was completely supported by a cavity of love. Many death marks lead Aschenbach to an inescapable fate. The whole film is the testimony of his love and death, and there is no more powerless and sad ending than this.
  Luchino Visconti, the real last nobleman, whose pursuit of aestheticism hidden in his bones and blood makes this color film different from his previous realistic works “The Sinking” or “The Earth is Fluctuating”, maybe this The mood of the story is the feeling he wants to express most in his life. Elegance, low-keyness, arrogance and inadvertent laziness between gestures are displayed one by one in Visconti’s slow panning; the still composition is like a rendered oil painting, mellow and sweet. Enchanting; Mahler’s Fifth Symphony’s turbulent poetry is also revived on the image just right, echoing Aschenbach’s fluctuating heart song, mournful, illusory and poignant.
  A hopeless forbidden love, the silent oath of the three masters, was handed over to Aschenbach’s one person’s love and death. This longing, fearful, unstoppable and tossing and tossing is what most people are pursuing for self-definition. The helplessness and irreversible endured by the United States and China. What is love? Death is not even scary? If a person is destined to die in the emotion of burnout, then the only thing that can be nostalgic is the beauty that has been pursued.