ベニスに死す [WB COLLECTION][AmazonDVDコレクション] [DVD]
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メーカーによる説明
ベニスに死す [WB COLLECTION][AmazonDVDコレクション] [DVD] | ベニスに死す [DVD] | |
---|---|---|
カスタマーレビュー |
5つ星のうち4.2
790
|
5つ星のうち4.2
790
|
価格 | — | ¥1,152¥1,152 |
製品仕様 | DVD | DVD |
発売日 | 2018/1/17 | 2010/4/21 |
商品の説明
ただひたすらに美しい、愛と死の一大交響詩-。
壮麗な水の都を舞台に巨匠ビスコンティが描き上げる、究極の「美」。
ドイツの高名な老作曲家アッシェンバッハ(ダーク・ボガード)は静養の為に赴いたベニスで、究極の美を体現したような美少年タージオ(ビョルン・アンドルセン)に出会う。ゆるくカールした金髪と澄んだ碧眼の瞳。まるでギリシャ彫刻のようなタージオにアッシェンバッハは次第に心を奪われてゆく…。
※映像特典、商品仕様、ジャケット写真などは予告無く変更となる場合がございます。
登録情報
- 言語 : 英語
- 製品サイズ : 30 x 10 x 20 cm; 70 g
- EAN : 4548967357240
- 監督 : ルキノ・ビスコンティ
- 発売日 : 2018/1/17
- 出演 : ダーク・ボガード, ビョルン・アンドルセン, シルバーナ・マンガーノ
- 字幕: : 日本語, 英語
- 販売元 : ワーナー・ブラザース・ホームエンターテイメント
- ASIN : B078HH8HVN
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 49,042位DVD (DVDの売れ筋ランキングを見る)
- - 4,398位外国のドラマ映画
- カスタマーレビュー:
イメージ付きのレビュー
5 星
美少年の美に耽溺してゆく初老の作曲家
久しぶりに「ベニスに死す」を観る。 ビョルン・アンドレセンはやはり超絶美少年。美しい彫刻に命が宿っているよう。 その少年の美しさに耽溺していくアッシェン・バッハをダーク・ボガートが表情、動きを通して見事に演じている。 映像、音楽も美しい。まるで美しい絵画を観賞しているような気分を味わった。
フィードバックをお寄せいただきありがとうございます
申し訳ありませんが、エラーが発生しました
申し訳ありませんが、レビューを読み込めませんでした
-
トップレビュー
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。
2023年10月4日に日本でレビュー済み
Amazonで購入
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
2023年6月8日に日本でレビュー済み
Amazonで購入
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。
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
読んでから映画も観た
やっぱりよくわからなかった
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。
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。
2022年10月24日に日本でレビュー済み
Amazonで購入
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!」
2021年12月11日に日本でレビュー済み
Amazonで購入
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。
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。
2022年12月3日に日本でレビュー済み
Amazonで購入
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。
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。
他の国からのトップレビュー
Edmund Marlowe
5つ星のうち5.0
Not quite flawless
2014年7月31日に英国でレビュー済みAmazonで購入
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
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
B. Marold
5つ星のうち5.0
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Amazonで購入
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.
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.
Claire
5つ星のうち5.0
MERVEILLEUX
2024年2月28日にフランスでレビュー済みAmazonで購入
Tout est dit dans le titre. Un vrai chef-d'œuvre.
harold kaltz
5つ星のうち5.0
Happy
2016年1月16日にカナダでレビュー済みAmazonで購入
I enjoyed the movie
Albert R.
5つ星のうち5.0
Alles Bestens
2013年12月4日にドイツでレビュー済みAmazonで購入
Über den Film gibt es nicht viel zu sagen.
Der ist Kult, und Pflicht.
Über Amazom um so mehr.
Die schlechte Bewertung der Versenderin ist leider nicht mehr rückgängig zu machen.
Das hat die "Deutsche Post versemmelt"!
Für gut 50 Km, 8 Tage, das ist untragbar.
Bei Ihr hab ich mich schon entschuldigt, Frau E. Haas hat alles richtig gemacht.
Versand am nächsten Tag, mehr kann man nicht erwarten.
Sie bekommt von mir 125% Bewertung.
Die Post 6, und setzen.
Evtl. kann Amazon meine schlechtere Bewertung für die Frau doch noch hochsetzen.
Der Film ist in jedem viel Fall besser als das, was man mir damals in einem Kustkino,
für teures Eintritsgeld, für 2 Personen vorgesetzt wurde.
Da waren unmögliche Klammerstücke dabei, sowohl farblich wie lautstärkemäßig.
Eine Beleidigung fürs Auge, und fürs Ohr. Letzteres geht Geht bei G. Mahler Adagiettos
schon mal gar nicht.
Die gelieferten DVD`s sind einwandfrei! Auch das Bonusmaterial ist auch gut, und sorgt
füt weitere Informationen.
Sehr empfehlenswert.
Amazon, bitte stuft Frau Haas wieser auf ihre 100% hoch, ich war damals nur auf die Post
sauer, und das ist ein anderer Sauhaufen, Umgangssprachlich.
Der ist Kult, und Pflicht.
Über Amazom um so mehr.
Die schlechte Bewertung der Versenderin ist leider nicht mehr rückgängig zu machen.
Das hat die "Deutsche Post versemmelt"!
Für gut 50 Km, 8 Tage, das ist untragbar.
Bei Ihr hab ich mich schon entschuldigt, Frau E. Haas hat alles richtig gemacht.
Versand am nächsten Tag, mehr kann man nicht erwarten.
Sie bekommt von mir 125% Bewertung.
Die Post 6, und setzen.
Evtl. kann Amazon meine schlechtere Bewertung für die Frau doch noch hochsetzen.
Der Film ist in jedem viel Fall besser als das, was man mir damals in einem Kustkino,
für teures Eintritsgeld, für 2 Personen vorgesetzt wurde.
Da waren unmögliche Klammerstücke dabei, sowohl farblich wie lautstärkemäßig.
Eine Beleidigung fürs Auge, und fürs Ohr. Letzteres geht Geht bei G. Mahler Adagiettos
schon mal gar nicht.
Die gelieferten DVD`s sind einwandfrei! Auch das Bonusmaterial ist auch gut, und sorgt
füt weitere Informationen.
Sehr empfehlenswert.
Amazon, bitte stuft Frau Haas wieser auf ihre 100% hoch, ich war damals nur auf die Post
sauer, und das ist ein anderer Sauhaufen, Umgangssprachlich.