フォーマット	ワイドスクリーン, 色
コントリビュータ	トーマス・マン, ダーク・ボガード, ビョルン・アンドレセン, シルヴァーナ・マンガーノ, ルキノ・ヴィスコンティ
言語	英語, ポルトガル語
稼働時間	2 時間 10 分

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ご覧いただきまして、ありがとうございます。★【国内正規品】【中古美品】【初回限定スペシャルパッケージバージョン】【映像特典付き】です。★ケースに中古品のスレなどありますが、概ねきれいです。★当店はAmazon以外で併売していない Amazon専用在庫です。ご注文いただきましたら、Amazonより、【即日発送】致します。★当店では、商品全体を除菌用アルコールで消毒し、清潔な状態でお届けするためにクリーニングをして、その上で透明OPPポリパックでカバーをしております。その際商品にダメージが残らないように細心の注意を払って行っております。★この状態で、Amazon倉庫へ納品しておりますので、コンディション通りの品質を保持している商品であります。

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マーラーの官能的な楽曲に誘われるようにして始まる導入部からして、魔力のような美しさを持った映画である。20世紀を代表する映画監督ルキノ・ビスコンティは「この作品は私の生涯の夢だった」と語っており、終生の愛読書であるトーマス・マンの原作に改編を加え、主人公の設定を文学者からマーラーを模した作曲家として映画化した。

舞台となっているのは現在はベネチア映画祭が開かれるベニス・リド島。静養のため島を訪れた老作曲家（ダーク・ボガード）は、ふと見かけた美しい少年タジオに心うばわれる。監督がヨーロッパ中を探して見つけた15歳の少年ビョルン・アンドルセンは、美を追究する者をとりこにするのもうなずけるほど妖しく美しい。彼の存在なくして映画は成立しなかっただろう。死に至るまで言葉ひとつ交わすことなく少年を追い続ける作曲家。決して交じり合うことなく向けられる視線の痛々しさ。絶対的な美の前に無力となる人間のもろさが見事に描かれている。（井上新八）

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アスペクト比 ‏ : ‎ 2.35:1
メーカーにより製造中止になりました ‏ : ‎ いいえ
言語 ‏ : ‎ 英語, ポルトガル語
梱包サイズ ‏ : ‎ 19.2 x 13.8 x 1.8 cm; 117.94 g
EAN ‏ : ‎ 4988135545572
監督 ‏ : ‎ ルキノ・ヴィスコンティ
メディア形式 ‏ : ‎ 色, ワイドスクリーン
時間 ‏ : ‎ 2 時間 10 分
発売日 ‏ : ‎ 2004/4/23
出演 ‏ : ‎ ダーク・ボガード, ビョルン・アンドレセン, シルヴァーナ・マンガーノ
字幕: ‏ : ‎ 英語, 日本語, スペイン語, 韓国語, 中国語, タイ語, ポルトガル語
販売元 ‏ : ‎ ワーナー・ホーム・ビデオ
ASIN ‏ : ‎ B0001KNI58
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 43,034位DVD (DVDの売れ筋ランキングを見る)
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上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

袴田文人

背景を知ると趣が出ます

2024年4月6日に日本でレビュー済み

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ビョルンアンデルセンを観るための映画です。

2023年10月4日に日本でレビュー済み

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見たかった映画で、後でまた見たくなると思うので中古でも手に入って良かった

1人のお客様がこれが役に立ったと考えています

役に立った

チャッピー

やっぱり美少年

2023年6月8日に日本でレビュー済み

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16歳の時、初めて美しいと思う少年に出逢いました。でも、おじさんが美少年をストーカーしてるのはなんだかなーと思いました。

1人のお客様がこれが役に立ったと考えています

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KENΣKE

う〜む

2023年1月2日に日本でレビュー済み

Amazonで購入

よくわからない
読んでから映画も観た
やっぱりよくわからなかった

1人のお客様がこれが役に立ったと考えています

役に立った

Zooey

アッシェンバッハは美によって死んだ。

2024年4月2日に日本でレビュー済み

決してコレラで死んだのではない。
ベニスの海に輝く自然の美に圧倒されて死んだのだ、アッシェンバッハは。
彼の渇きは、美への欲望。
今その瞬間も老いゆく自身への焦燥だ。
ベニスの街を刻々と蝕んでいくコレラは、彼が築き上げた美の概念が、自然発生的に生まれた美の絶対に浸食されることに重なる。
彼は全ての采配をかけて究極の美へ闘いを挑み、熱い太陽に全てを溶かされた。

1人のお客様がこれが役に立ったと考えています

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フンフン0901

もう最高！！！

2022年10月24日に日本でレビュー済み

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ビョルンアンドレセンの美しさにうっとりしながら、作品としても世界屈指の超名作映画！！！「まだ見てない方、是非見るべし！」

1人のお客様がこれが役に立ったと考えています

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まろまろん

老いらくの恋

2021年12月11日に日本でレビュー済み

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前半部分は特に何も起きなくて退屈に感じました。あと分かりにくい部分があってだれか説明してって思う部分もありました。想像しなさいってことですかね。
ただ、もうラストが切なすぎて苦しくなります。

初老の男性が十代の子に恋をするって普通に考えるとかなりヤバいです。
身近にいる高校卒業したばかりのバイトの女性が五十代の男性から本気のラブレターを渡されたって言ってたり、知り合いの会社の新卒の女性に五十代の妻子持ちの男性がストーカーしてたって話を聞いてドン引きしたばかりなんですけど、その男性たちもこんな感じだったのかなと考えちゃいました。
そう考えるとこの終わり方の方が幸せだったのかもしれないですね。
もう一回じっくり見ようと思いました。

7人のお客様がこれが役に立ったと考えています

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Taka

原作を読んでいないと分かり難い

2022年12月3日に日本でレビュー済み

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トーマス・マンの原作を読んでいないと分かり難い作品
後半部分はかなり冗長で退屈
タッジオ役のビョルン・アンドレセンも個人的には中性的でまったく美しいとは思いませんでした。
とにかく、いかにも「ルキノ・ヴィスコンティの世界」という感じで、怖いもの見たさなら良いと思いますが
標準的な感覚・感性の人間には受け付けにくいでしょう
自分も興味本位に鑑賞しただけです。

1人のお客様がこれが役に立ったと考えています

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Edmund Marlowe

Not quite flawless

2014年7月31日に英国でレビュー済み

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Some others here have written so eloquently and fully about this film's many virtues that I see no point in saying more about them. I shall instead say why I find it not quite flawless, but first I shall underline my appreciation of it by observing I love this film despite being intensely bored by some acclaimed films with little dialogue or action. Mostly I think this must come down to the film being such a rich visual treat, but hearing that some find it boring despite that, I wonder if this might not be a rare case where it is a great advantage to have read the novella first, as I did, for Mann's description of Aschenbach's developing and conflicting emotions is absolutely masterful. Perhaps this helps one feel as Aschenbach feels more than one could just from Bogarde's excellent acting.

Visconti allowed himself more than two hours to bring to life a very short novel. There was thus none of the usual necessity to cut any of the novel, and since the latter is a masterpiece, every reason to be faithful to it. Nothing that matters has been cut and the film is generally faithful. Nevertheless, its only slight flaws come from being not faithful enough.

The main change in the story is that Aschenbach is changed from a writer to a musician. The reasons are understandable and I don't think it matters much except that Visconti made it the basis for a series of flashbacks in which Aschenbach has slightly corny debates about the purpose of musical creation. I find these tiresome distractions.

A lesser flaw for me is the choice of 16-year-old Björn Andrésen to play 14-year-old Tadzio. I realise from the numerous superlative remarks made about his beauty that most will disagree with me on this. I agree with others it was critical to the film's success that Tadzio's actor be beautiful and I can appreciate Andrésen's beauty enough to understand how Visconti's choice succeeded. Though personally I find him too pallid (and his hair too '70s for an otherwise wonderfully authentic depiction of 1911), my objection is not that he was not beautiful enough, but that it would have been easy and better to find an equally beautiful 14-year-old to play the role. There is quite a difference between boys of 14 and 16 and Mann had his reasons for depicting Tadzio as looking 14. Andrésen's rather feminine appearance for his age is a poor substitute for the more natural androgyny of 14. I think Mann's choice of 14 was intended both for the broad appeal of this quality and in considered juxtaposition to Aschenbach's age: the one near the beginning of his romantic sensibility while the other was at its end. Much to his credit, Visconti did set out to find a younger boy, so he was not making the ignoble concession to social correctness other directors have made under similar circumstances, and I would not mention it if the film was not otherwise so nearly perfect.

As many appear still to be unaware of it, it may be interesting to mention that Death in Venice is partly a true story. Mann having already decided to write a story about a great writer who succumbs to passion for a youngster and to base the writer physically on the recently deceased composer Mahler, the rest of the story fell into place in detail when he arrived in Venice and promptly fell in love with a boy; in his own words, "nothing was invented." Gilbert Adair wrote a book on this called The Real Tadzio, exploring also the life of Wladyslaw Moes, who claimed to be the real boy (which I doubt for reasons I have explained in a review of it).

Edmund Marlowe, author of Alexander's Choice, a story of similar but requited love, www.amazon.co.uk/dp/1481222112

17人のお客様がこれが役に立ったと考えています

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B. Marold

A fondly remembered treasure, recounted

2012年5月28日にアメリカ合衆国でレビュー済み

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I am delighted that there are so many reviews for this movie, and that a very nice majority are so positive, since like so many other great "foreign" films, there is the fear it is being overlooked.

I first saw the film in the theatre, when it was released in 1971, and was totally captivated, especially by Dirk Bogarde's performance. Possibly the only way his role may have been improved is if his character were turned into an Englishman, especially since all his dialogue is in English, not in either German (the nationality of the principle character) nor Italian. But then, we would not have that undercurrent of the tradition of Germans (exemplified by Goethe's travels in Italy) going south to "recharge their batteries". And, the way Mann wrote the character, the contrast between the stuffy Apollonian German to the Dionysian Italian would not work as well.

The movie is a Bogarde / Visconti tour de force. The principle character, Gustav von Aschenbach is virtually the only speaking role of any importance. Marissa Berenson, playing Aschenbach's wife, speaks not at all and Silvana Mangano speaks only in Polish, with no subtitles. The only other speaking part of any real content is by Mark Burns, who plays Alfred, a colleague of the composer Aschenbach. The second most important character, the Polish boy, Tadzio speaks not at all.

And most of Bogarde's best contribution seems to be not in his speeches, but in his "business". The body language of an important upper middle class German having to deal with this far less well ordered world of Italy. Bogarde sets the stage for these fussy / frustrated mannerisms when he must deal with a Gondolier who is rowing him to the Lido and, for some unknown, quirky reason, Aschenbach prefers to go to the vaporetto station, the small steam launches which travel between the landing and the Lido. As the gondola appears to be travelling farther and farther out into open water (the assumption, confirmed by the novella) is that Aschenbach's request was to be taken to San Marco the central island of Venice, the site of Saint Mark's square to hire a steam launch. Reading the novella confirms my guess about the mystery of why Aschenbach was arriving in Venice by ferry rather than by train. He took the train to Trieste, and from there across the top of the Adriatic by ferry. (There was a train running by causeway, to the islands of Venice when I was there in 1964) The upshot of the whole scene is that to Aschenbach's obvious annoyance, he is thrust into a situation over which he has no control.

That characterization of "unordered" is a bit unfair to the setting in the Grand Hotel des Bains on the Lido (beachfront island just to the east of the main islands of Venice). Part of the attraction of the film is how it recaptures the style of pre WW I European travel and holiday life. The hotel has an overabundance of staff to be sure their guests are well attended. In the days before pre-recorded music, there are also live ensembles providing music in the lounge and dining room.

The travel from well-ordered Germany (Munich) to dissolute (diseased, we will later discover) Italy is an externalization of the backstory, told in flashbacks between Aschenbach and Alfred who seem to represent Nietzsche's two sources of artistic inspiration. It appears this backstory is original to the film, as the character of Alfred does not appear in the Novella. It is part of the conversion of Aschenbach from a novelist to a composer, patterned after Gustav Mahler, whose music is used for most of the soundtrack. The flashbacks also provide the reason for the travel. Northern Europeans often travel to the south "for their health". Aschenback, in flashback, was suffering from both weakness from overwork and a disastrous reception to the performance of one of his compositions. Visconti could have left Mahler's music in, and left out the flashbacks, and the film would have lost not one wit of its impact.

I enter the realm where there is a risk of giving away too much of the story. If I do, my only excuse may be that the charm of the film is not in the plot so much as the evolution of Bogarde's representation of how von Aschenbach reacts to his encountering the dramatically attractive Polish boy, Tadzio. One's first impression of Bjorn Andresen's performance is that it seems to be two dimensional, with only the simplest signs of flirting with Aschenbach through simple expresions and one marvelously choreographed scene on the path from the hotel to the beach. The charm of Tadzio is conveyed primarily through the skills of director Visconti and his cinematographer, whose shots of Tadzio rival the beauty of the shots of Venice and the Adriatic. Tadzio's importance in the final scene, however, is as important as von Aschenbach's role in that scene.

All the minor characters whose main task is to dress the milieu of travelling to Venice and life in the Grand Hotel carry off their roles to perfection. The credit crawl says the film was made in Rome, in a studio, but I have to believe there were a goodly number of shots made in Venice, to capture some of the scenes which one critic has said "are good enough to frame and hang in the Louvre." The film won two European film awards for its cinematography.

My godson, who was seeing it for the first time remarked at how uncommon it is to see scenes drawn out to such lengths, when the same idea may be communicated in less than half the time. Rather than being an extravagantly varied action and dialogue filled story, like a French confection with chocolate, fruit, and lemon curd, it is like a spoonful of perfectly baked and crusted Spanish flan, where the richness is almost exclusively in Bogarde's remarkable performance.

21人のお客様がこれが役に立ったと考えています

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Claire

MERVEILLEUX

2024年2月28日にフランスでレビュー済み

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Tout est dit dans le titre. Un vrai chef-d'œuvre.

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harold kaltz

Happy

2016年1月16日にカナダでレビュー済み

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I enjoyed the movie

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john f. clifford

A Great Movie. A Haunting Impression!

2014年7月14日にアメリカ合衆国でレビュー済み

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Reading Thomas Mann's "Death In Venice" many years ago. Being young I found it confusing to me. Trying to understand the relationship between this older man Aschenbach and the beautiful young Tadzio. I found myself asking "where is this story going"? I was left empty by the sadness of it all. I wanted more....needed more!
Then, also many years ago, I saw this Luchino Visconti's brilliant movie adaption of the story. On film he captured the time period and "stuffiness" of the day perfectly.
Now I've had a VHS tape of the movie for years, and it sat on a shelf for years. But a few weeks ago I was buying a few movies from Amazon and decided to buy this DVD.

Watching this Visconti film again, I found it is nothing short of "breathtaking'! I was very open to his take or interpretation of the book. And I "get it" now. The subject matter and underlying meaning of it all done masterfully in a 1971 movie!
For me. Aschenbach's need for rest and his appreciation of beauty that, without a doubt comes in the form of a gradual "homoerotic obsession" with the boy! And I understand his "secret passion"! Yes, as much as the subject of pure beauty is strongly implied.... I believe Aschenbach was in the closet!

As for the content of the movie. The long "takes" without dialog through out the picture of both aging Achenbach and the young Tadzio , either alone or looking at each other are truly "intoxicating". And yes, beautiful!

There is always a scene in all movies that stand out to me. And in this movie, the scene for me is of the strolling minstrels coming up onto the long portico or veranda is absolutely "mesmerizing"! With Aschenbach sitting at a table by the steps. And yes, the beauty, of Tadzio leaning on the railing, Their "close up" looks back and forth to one another, especially from Tadzio, is nothing short of "stunning"!
The scene goes from a tranquil beauty a boy and a man eyeing each other to chaotic madness in just a few minutes.....music becomes louder....the minstrels more obnoxious....disrupting the very erotic mood that was developing. Incredible movie making!
I have read many of the other reviews on this movie and I see the terms extraordinary, amazing, brilliant, a masterpiece, etc. And for sure, it all fits. While not for everyone...."Death In Venice" is one of the best pictures I have ever seen!

I do consider Dirk Bogarde was one of the finest actors of our time. His performance as Achenbach is, as the cover states "haunting"! The casting of Bjorn Andresen as the young Tadzio, absolutely perfect!
Needless to say. I was captivated by the over all scope of the movie. The flow and style of the screen play. The lack of dialog...the lush cinematography with his long lingering "shots" of both the main characters, as well as the excellent music score by Gustav Mahler, . It will always remain a "special" favorite of mine!

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