Luchino Visconti
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I Am Love (2010)
Directed by Luca Guadagnino
influenced by The Leopard (1963), The Damned (1969), Senso (1954), Rocco and His Brothers (1960)
Themes Visuals
The opening act of Luca Guadagnino's film establishes the stature of the Recchi family as surely as the Corleones are established in “ The Godfather ,” or the Salinas in Visconti's “ The Leopard .”
A glorious epic that feels a little bit like Luchino Visconti 's The Leopard by way of Paul Thomas Anderson 's Magnolia , I Am Love is a truly great film that offers substance at the heart of the season's spectacle.
However, it really is the cinema of Luchino Visconti that is most recognisable as one of Guadagnino’s influences, especially The Leopard .
He's also clearly inspired by such classic meditations on the Italian bourgeoisie and passing of epochs as "The Leopard" and "The Garden of the Finzi-Continis."
It seems impossible to avoid comparing I Am Love to Lucino Visconti's The Leopard , even though the two films have very little in common besides a wealthy old family being destroyed by personal crises; yet while that film carefully frames its melodrama in a wide-ranging historical context, I Am Love makes no pretensions to context or society, despite its very deliberate chronological placement.
Visconti is more to the point, since I Am Love inescapably recalls The Leopard (1963) set in modern times.
For film fans, Kubrick's Barry Lyndon and Luchino Visconti's The Leopard will immediately come to mind as visual and overall aesthetic references, but the film shares much more in common with the works of the aforementioned Malick, whose most recent work The New World similarly purported to document a bygone era via atmosphere and emotion rather than historical accuracy.
(I haven’t seen such artful drips since 1971, when Dirk Bogarde’s hair dye melted, along with his soul, at the end of “Death in Venice.”)
If Almodóvar looked to Douglas Sirk in "All About My Mother" (although as a filmmaker, he's far wetter and more approachably rumpled than the crisp, buttoned-down Sirk), this time he's casting an eye toward Italian neorealism: "Volver" includes a clip from Luchino Visconti's "Bellissima," starring perhaps the most vital-looking actress of all time, Anna Magnani.
Yes, she's supposed to evoke the va - va-voom of the great European earth-goddesses (a clip of Anna Magnani on a bed in Visconti's "Bellissima" plays on TV), but the strategy is a little more personal for Cruz, too.
Pedro Almod�var is another auteur whose queer eye feasts on eruptions of womanhood, and in Volver, his new work, he name-checks his own cinematic duo (Mildred Pierce arcanely, Visconti's Bellissima explicitly).
The Wind Rises (2013)
Directed by Hayao Miyazaki
influenced by The Damned (1969), Death in Venice (1971)
Visuals
The sickly sweet tone reminds me of Luchino Visconti's pageant of fascist "beauty," The Damned (1969), as well as his adaptation of Mann's Death in Venice (1971).
The sickly sweet tone reminds me of Luchino Visconti's pageant of fascist "beauty," The Damned (1969), as well as his adaptation of Mann's Death in Venice (1971).
And the director’s filmic references — whether it’s The Leopard, The Four Feathers, The Charge of the Light Brigade, or Barry Lyndon — are all to movies about hierarchies and the ways an established social order preserves and propagates itself.
The sequence feels like one unbroken shot, and has the same elegance as Visconti's long single take as he follows the prince through the ballrooms in " The Leopard ."
The ball scenes are masterfully handled in the manner of Visconti’s THE LEOPARD, and one sublime moment finds the crowd vanishing as Darcy and Elizabeth discover one another.
The Girl with the Dragon Tattoo (2009)
Directed by Niels Arden Oplev
influenced by The Damned (1969)
Themes
Niels Arden Oplev's perfunctory adaptation of Larsson's first book veers from Visconti's The Damned to Jonathan Demme's The Silence of the Lambs without the decadence or the thrills of either.
Call Me by Your Name is suffused with a cosmopolitan sense of attraction that makes it feel like a throwback to Thomas Mann’s seminal Death in Venice, about a writer who falls for a beautiful youth, and other stories of the kind—minus the tragedy.
He also saw a chance to make an American movie in the tradition of Luchino Visconti's The Leopard (1963), Bernardo Bertolucci's 1900 (1976), and Sergio Leone's Once Upon a Time in the West (1968) and Once Upon a Time in America (1984): a bloody, wide-screen epic that mixes elemental stories of love and revenge with a vision of the larger historical forces that shaped the capitalist society we know today.
“Youth,” his latest, a lush English-language production, might be described as a hybrid evocation of Fellini’s semi-autobiographical “8A” and Luchino Visconti’s adaptation of Thomas Mann’s scandalous novella “Death in Venice.”
Youth is a good bit like Fellini’s 8 1/2 (1963) and has elements of Ken Russell’s Mahler (1974) — with maybe just a touch of Visconti’s Death in Venice (1971) — but is ultimately, its own beautiful thing.
Scorsese’s and Zaillian’s work must be measured by the storytelling form and length of The Leopard (1963), and of the ’60s roadshow epics like Spartacus (1960) and Lawrence of Arabia (1962), but with the intimacy and political acumen of Stroheim, especially what we know of Greed (1924), and most profoundly of all, the overwhelming sadness of the movie’s greatest influence, Barry Lyndon (1975).
“The Irishman” lavishes the leisurely tempo and generous duration of epics like Luchino Visconti’s “The Leopard.”
Consider the next best thing: a jaunt to your local video store, where you can pick up the diametrically opposed but concurrently released travelogues Under the Tuscan Sun and Death in Venice.
Though the tenderly handsome Nightcrawler star naturally looks about as much of a boxer as baby-faced Alain Delon in Rocco and His Brothers — which is to say, not at all — here the former Donnie Darko has been transformed into a tattooed, muscle-bound, raging bull gladiator.
Back to the dead!” shouts the village MC (Björn Andrésen, strangely alluring all these years since Visconti’s Death in Venice ), inaugurating the traditional search for the incoming May Queen, who’ll bless the community with fertility.
Throw in an embrace of Thomas Mann's Death in Venice and Magic Mountain, and you have the makings of something special – if it didn't all collapse in a tedious, bloated cacophony of silliness.
Just when we think that Cimino has grasped the lessons of Visconti and The Leopard, he shows how shallow he really is.
There will be plenty of people (who haven’t seen Bertolucci’s "1900" or never heard of Elem Klimov’s "Come and See," or Visconti’s "The Damned," or have forgotten Kubrick’s "Full Metal Jacket") raving about this being the greatest war movie ever made.
Luchino Visconti's influence, vis a vis his 1963 film "The Leopard," is apparent in Coppola's staging of social scenes like the wedding that serves to introduce the audience to the insular world of the Corleone family.
Its pained interrogation of art, beauty, December love, truth and falsity has a Death in Venice lugubriousness, and not for nothing is the main character called Oldman.