Death in Venice (1971)

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Dirk Bogarde as Gustav von Aschenbach • Björn Andrésen as Tadzio • Romolo Valli as Hotel Manager • Mark Burns as Alfred • Nora Ricci as Tadzio's Governess • Silvana Mangano as Tadzio's Mother • Marisa Berenson as Aschenbach's Wife

Composer Gustav von Aschenbach travels to Venice for health reasons. There, he becomes obsessed with the stunning beauty of an adolescent Polish boy named Tadzio who is staying with his family at the same Grand Hôtel des Bains on the Lido as Aschenba...

France • Italy • Drama

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Subtitle languages: English • Spanish • Brazilian Portuguese

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1. Here you go.

2. Our best wishes for a most enjoyable sojourn.

3. Let us bring our poor service to your kind attention.

4. Au re voir. Excusez. Bonjour!

5. Your Excellency.

6. And by the way, sir,

7. our compliments to your little sweetheart,

8. to your pretty little sweetheart.

9. Our best wishes, signore.

10. Take me to the steamship landing.

11. I said take me to the steamship landing.

12. The signore is going to the Lido.

13. Yes, I know that, but first I want to go to San Marco.

14. I get the vaporetto from there.

15. But you cannot take the vaporetto.

16. Why not?

17. Because the vaporetto does not take luggage.

18. That is my concern! Turn round!

19. How much do you charge for this trip?

20. The signore will pay.

21. I'll pay you no penny at all

22. unless you take me exactly where I want to go.

23. - You want to go to the Lido. - But not with you.

24. I am a good rower, signore. I row you well.

25. I don't understand.

26. - That gondolier is a bad character. - Ah?

27. He has no license. The other gondoliers telephoned.

28. He saw the police waiting, and he made off quickly.

29. Aha.

30. Signore, you had a ride to the Lido for nothing.

31. Thank you.

32. Good afternoon, Professor von Aschenbach.

33. Allow me to extend you the compliments of the management.

34. I hope the room we have reserved will meet with your satisfaction.

35. We have a marvelous beginning of season, just a little scirocco.

36. I hope you will have a marvelous time.

37. Prego.

38. Third floor. Please.

39. No, this side, please.

40. Come in.

41. Here is your room.

42. After you.

43. I hope the flowers won't bother you.

44. We have reserved the best room in the hotel for you, Professor.

45. I hope you will like it.

46. You have a marvelous view of the sea.

47. Today the weather is not very good, but tomorrow it will be better.

48. I hope you enjoy your visit,

49. and I hope that the room we have reserved for you is completely to your liking.

50. Well, when you need something, you call me, sir.

51. - Thank you. - Grazle.

52. Oh. Your key, Professor Aschenbach.

53. 308. Remember.

54. Excuse me.

55. He's going to be all right.

56. When do you think he'll be able to work again?

57. Hmm. That's difficult to say... in cases like this.

58. I must say, he has no reason to be proud of his heart.

59. He needs to get away from it all. Along period of complete rest.

60. Mm.

61. Gustav?

62. Gustav.

63. I remember...

64. we once had one of those...

65. in my father's house.

66. The aperture through which the sand runs is so tiny that,

67. at first, it seems as if the level in the upper glass...

68. never changes.

69. To our eyes, it appears that the sand runs out only...

70. only at the end.

71. And until it does, it's not worth thinking about.

72. Till the last moment...

73. when there's no more time...

74. when there's no more time left to think about it.

75. Ladies and gentlemen, dinner is served.

76. - Good evening, ladies and gentlemen. - Good evening.

77. - Dinner will be served in five minutes. - Ah, that's all right.

78. - I am sure you will enjoy the dinner. I'm sure.

79. I have a good appetite. I had a good walk today.

80. What are you going to have to drink?

81. Dry sherry.

82. - Parfait.

83. Excuse me.

84. - Soup and fish. - Thank you.

85. Nothing else.

86. Beauty?

87. You mean your spiritual conception of beauty.

88. But do you deny the ability of the artist to create from the spirit?

89. Yes, Gustav, that is precisely what I deny

90. And so then, according to you,

91. our labor as artists is a —

92. Labor, exactly

93. Do you really believe in beauty as the product of labor?

94. Yes.

95. Yes, I do.

96. That is how beauty is born.

97. Like that, spontaneously

98. In utter disregard for your labor and mine.

99. It preexists our presumption as artists.

100. Yes.

101. Your great error, my dear friend,

102. is to consider life — reality — as a limitation.

103. Well, isn't that what it is?

104. Reality only distracts and degrades us.

105. You know, sometimes I think...

106. Sometimes I think that artists are rather like hunters aiming in the dark.

107. They don't know what their target is, and they don't know if they've hit it.

108. But you can't expect life to illuminate the target and steady your aim.

109. The creation of beauty and purity is a spiritual act.

110. No, Gustav. No.

111. Beauty belongs to the senses.

112. Only to the senses.

113. You cannot reach the spirit...

114. You cannot reach the spirit through the senses.

115. You cannot.

116. It's only by complete domination of the senses

117. that you can ever achieve

118. wisdom, truth, and human dignity.

119. Wisdom? Human dignity?

120. - Yes.

121. What use are they?

122. Genius is a divine gift.

123. No, no, no — a divine affliction.

124. A sinful, morbid flash fire of natural gifts.

125. I reject — I reject the demonic virtues of art.

126. And you are wrong.

127. Evil is a necessity.

128. It is — It is the food of genius.

129. Thank you, Ilse.

130. Do you want some tea?

131. Mmm. Please.

132. If you want milk, help yourself to it.

133. Thank you.

134. You know, Alfred...

135. art is the highest source of education...

136. and the artist has to be exemplary.

137. He must be a model of balance and strength.

138. He cannot be ambiguous.

139. But art is ambiguous.

140. And music, the most ambiguous of all the arts.

141. It is ambiguity made a science.

142. Wait.

143. Listen to this chord.

144. Or this one.

145. You can interpret them in any way you like.

146. You have before you an entire series of mathematical combinations,

147. unforeseen and inexhaustible.

148. A paradise of double meanings, in which you, more than anyone else,

149. romp and roll about like a — like a calf in clover.

150. Don't you hear it?

151. - Do you recognize it? - Stop, stop.

152. It's yours! It's all your music!

153. Good morning, Professor von Aschenbach.

154. Good morning.

155. - Uh, the weather... - Sir?

156. The scirocco.

157. How long do you think it will last?

158. Well, you must understand, signore,

159. that the scirocco blows for, um, three days if it starts on a Tuesday,

160. nine days if it starts on Friday.

161. But if it has not blown itself out by the tenth day,

162. oh, then, oh, it goes on for 21 days.

163. Now, it began a week on Friday.

164. That makes today the tenth day.

165. But sure, the last. Sure.

166. Excuse me, Professor. Have a pleasant day.

167. Thank you.

168. Uh, bring me a chair and a table, please.

169. Tadzio! Tadzio!

170. - Hello, John. - Hello. What's going on here anyways?

171. Did you make love with my husband last night?

172. - Yes.

173. Are you going to buy that one there?

174. You know, just like this.

175. How much is he asking for them?

176. And you?

177. You wanna watch out for these peddlers.

178. They'll charge you about three times as much as the stuff's worth.

179. I want that, that, and the other one.

180. Oh, no. Oh, no, Dorothy.

181. It's very dangerous in this hot weather.

182. You shouldn't eat any fresh fruit.

183. No, I can't. No, no, no.

184. Only, only cooked vegetables.

185. Tadzio! Tadzio!

186. Tadzio! - Tadzio!

187. Tadzio!

188. Tadzio!

189. Tadzio!

190. Tadzio.

191. Tadzio, non! Non!

192. - Tadzio! - [Tadzio laughing, speaking French]

193. - Tadzio! - Tadzio!

194. Tadzio!

195. Ground floor. Please.

196. Second floor. Please.

197. Shame is a spiritual distress to which you are immune,

198. because you are immune to feeling.

199. You are the man of avoidance, of dislike.

200. - The keeper of distances.

201. You are afraid to have direct, honest contact with anything.

202. Because of your rigid standards of morality,

203. you want your behavior to be as perfect as the music you compose.

204. Every slip is a fall, a catastrophe, resulting in irreparable contamination.

205. - I am contaminated! - If only you were!

206. To be in debt to one's own senses

207. for a condition which is irredeemably corrupt and sick!

208. What joy for an artist!

209. Think what a dry and arid thing good health is,

210. especially if it's of the soul no less than the body.

211. I have to find my balance somehow.

212. How unfortunate that art is so indifferent to personal morality.

213. Otherwise you would be supreme, unreachable, inimitable.

214. Tell me, do you know what lies at the bottom of the mainstream?

215. Mediocrity.

216. - You are leaving us tomorrow, sir? - Uh, yes, tomorrow.

217. - Oh! - Unforeseen circumstances.

218. Oh. Tsk, tsk.

219. - Uh, an unexpected obligation. - I understand.

220. I, uh...

221. I have to return to Munich.

222. I had the news this morning. It's unavoidable.

223. - Tsk, tsk, tsk. - Also, I'm not very well.

224. And, uh, this climate is —

225. Oh, yes, sir.

226. - ... most trying for my health. - Mm, I understand, sir.

227. - Will you have my luggage sent on — - Yes, sir.

228. - ... tomorrow? And any letters? - Oh, of course, sir.

229. And have my bill made out immediately.

230. As you wish, Mr. Aschenbach.

231. The bill of Mr. Aschenbach immediately, please.

232. Thank you.

233. - I will, uh, have right down — - Yes, thank you.

234. Excuse me, sir. I've been told to...

235. Told to what?

236. Forgive my insistence, but the motor launch is waiting. Time presses, sir.

237. Time does not press.

238. Hotels have a habit of trying to be rid of one as soon as one has paid one's bill.

239. - I find it intolerable.

240. If the motor launch cannot wait for me, then send my luggage on it.

241. I will follow on later by public conveyance.

242. I beg your pardon, sir.

243. Now would you let me finish my breakfast in peace?

244. Send me a newspaper. Any one.

245. Yes, sir.

246. Farewell, Tadzio. It was all too brief.

247. May God bless you.

248. Munich. First-class.

249. For today, signore?

250. - What? - For today?

251. Yes. For today.

252. I don't know that you can catch the train.

253. It leaves for Verona in four minutes.

254. If you miss that one, there is another.

255. And you will miss also your connection.

256. Yes, well, will you hurry?

257. Your change, signore.

258. Mr. Aschenbach. I am terribly sorry, sir. I am mortified.

259. - An error, a most unfortunate mistake. - Who are you? What do you want?

260. Well, it's one of those things that should never happen,

261. but, you know, it did happen.

262. - You're going to make me miss my train. - Your trunk has already left for Como.

263. - Como? - Anyway, the company will try to get —

264. I want it back now, immediately.

265. I'm afraid, sir, that cannot be done. You will have to wait.

266. Wait? What do I wait for? I want my trunk.

267. I insist on having my trunk here this minute.

268. Please, sir. Take your train to Munich,

269. and the trunks will join you there within three days.

270. I will not leave Venice until my trunk is returned.

271. Very good, sir. You have most certainly taken the best course.

272. Oh, take this back and get the money refunded.

273. And see the launch is ready.

274. I intend to return immediately to the Lido.

275. Yes, sir.

276. Gustav! Gustav!

277. - Oh! Oof!

278. - Ah!

279. - Oh, Tadzio!

280. - One moment. - Yes, Mr. Aschenbach?

281. Can you tell me

282. why there is nothing in any of the newspapers

283. about what is happening here?

284. Even I have heard stories.

285. Ah, so —

286. you have heard those extravagant rumors too?

287. No, believe me, sir, there is no epidemic, not even sickness.

288. What about the notices being put up by the health department?

289. - You've seen those, I suppose? - Certainly, Mr. Aschenbach.

290. But every year, in the summer months,

291. Venice is papered with that sort of notice.

292. The police do it.

293. They are interested in avoiding any risk to the public well-being.

294. But it's nothing more than that, I assure you,

295. even if certain foreign newspapers take advantage of the situation

296. to spread libelous rumors in order to discourage the tourists.

297. It's very unpleasant, don't you agree?

298. But no need to be concerned, Mr. Aschenbach.

299. No need for concern. Excuse me.

300. Esmeralda. Esmeralda.

301. You must never smile like that.

302. You must never smile like that at anyone.

303. I love you.

304. Tadzio!

305. Tadzio! Tadzio!

306. What is this filthy smell?

307. Hmm?

308. It's everywhere in the city.

309. What is it?

310. Thank you.

311. Grazie, signore. Grazie. Grazie.

312. - Come here. - Eh?

313. Why are they disinfecting Venice?

314. Oh, uh...

315. The police orders, signore.

316. Because of heat and scirocco.

317. The scirocco is oppressive.

318. No good for health.

319. So there's no sickness in Venice?

320. A sickness? Oh!

321. What sort of sickness?

322. Uh, the scirocco a sickness?

323. Perhaps our police, sickness?

324. Just a precaution, signore.

325. Grazie. Grazie.

326. Oh!

327. Thank you. Good afternoon.

328. - Good afternoon. - Good afternoon.

329. I want to change some German marks.

330. - Sir? - For lire.

331. - 300. - 300.

332. Thank you.

333. - Good day. - Good afternoon, sir. Thank you.

334. Excuse me.

335. Could I have a word with you, please?

336. Oh, yes. Yes, of course.

337. Now, sir, can I help you?

338. Well, I'd be most grateful.

339. I've been trying to find out...

340. No one will tell me the truth.

341. They're disinfecting Venice.

342. Do you know why?

343. No cause for alarm, sir. A mere formality.

344. A precautionary measure in view of the unhealthy cli —

345. Thank you. Thank you. Thank you very much.

346. Oh, just a moment, sir.

347. I'd like to have a word with you.

348. Will you come this way?

349. Please.

350. Well...

351. Now, that was the official explanation, which they seem to want to stick to.

352. But I can tell you there's a bit more to it than that.

353. For several years,

354. Asiatic cholera has shown a marked tendency to spread beyond its source,

355. which of course you know is in the waters of the Ganges.

356. First it spread to Hindustan. Then it moved east to China.

357. Then it went west to Afghanistan and Persia.

358. Are you following me, sir?

359. Yes, yes.

360. Well, from Persia, the plague moved along the great caravan route,

361. striking terror in Afghanistan, terror in Moscow.

362. From Moscow, it was expected to spread across to Europe by land.

363. No, no. Instead, it was carried by sea from the Syrian ports

364. to Toulon and Malaga

365. and then to Palermo and Naples.

366. And it soon got a very firm grip on Calabria.

367. Northern Italy seems to have been spared so far.

368. But when you consider the vulnerability of Venice,

369. with its lagoons and its scirocco...

370. In May...

371. the horrible vibrios were found on the same day in two bodies —

372. on the blackened, emaciated body of a boatman...

373. and in a lady who kept a greengrocer's shop.

374. Yes. Well, both of these deaths of course were hushed up,

375. but now, week by week, there are more and more deaths.

376. It's quite impossible to count the number of the dead.

377. Do you know that in the hospitals, there's not a single free bed to be had.

378. Well, the people all know of course. They're terrified, but they're silent.

379. And do you know why?

380. Summer. Tourists.

381. The whole business of Venice is tourists.

382. Can you imagine Venice without tourists?

383. Well, it would be more desolate than the winter.

384. You would be very well advised to leave today, sir.

385. Don't wait till tomorrow.

386. The blockade cannot be more than a few days off.

387. Madam.

388. Will you permit an entire stranger...

389. to serve you...

390. with a word of advice and warning...

391. which self-interest prevents others from saying?

392. Go away.

393. Go away immediately. Don't delay.

394. Please, I beg you.

395. Take — Take Tadzio and your daughters.

396. I implore you. Please.

397. Venice is gripped by pestilence.

398. Please.

399. Tadzio.

400. Thank you.

401. Thank you.

402. What kind of road have I chosen?

403. What sort of road?

404. - Gray. - Yes, of course.

405. And you know why, signore?

406. Because of your negligence.

407. Because you don't take enough trouble over your appearance.

408. Understandable in a great gentleman such as you,

409. but a big mistake nonetheless.

410. No.

411. You're much too important a person

412. to be a slave to conventions about nature and artifice.

413. You know, sir, we are as old as we feel, but no older.

414. You, for instance, signore, have a right to your natural color.

415. Se permette?

416. Scusi.

417. I will restore what belongs to you immediately.

418. How?

419. Leave it to me.

420. And now the signore may fall in love as soon as he pleases.

421. Bene.

422. Tadzio!

423. Tadzio!

424. lliens.

425. You cheat. You magnificent swindler.

426. What more do they want from me?

427. Pure beauty. Absolute severity.

428. Purity of form! Perfection!

429. The abstraction of the senses.

430. It's all gone! Nothing remains!

431. Nothing, nothing, nothing.

432. Your music is stillborn! And you are unmasked!

433. Alfred.

434. Send them away. Please, make them go.

435. Send them away?

436. I will deliver you to them!

437. No, Alfred, please, please.

438. Don't, don't. Please.

439. To them!

440. They will judge you!

441. And they will condemn you!

442. No, Alfred. No, no.

443. No. No. No.

444. No!

445. No! No!

446. Wisdom, truth, human dignity..

447. all finished

448. Now there is no reason why you cannot go to your grave with your music.

449. You have achieved perfect balance.

450. The man and the artist are one.

451. They have touched bottom together.

452. You never possessed chastity

453. Chastity is the gift of purity, not the painful result of old age.

454. And you are old, Gustav.

455. And in all the world, there is no impurity so impure as old age.

456. Morning, madame.

457. Morning, madame. Buongiorno.

458. - Good morning. - Morning, sir.

459. Good morning.

460. - Whose is this? - The Poles'. Mrs. Moore's and her family.

461. - When? - After lunch.

462. Tadzio. Tadzio.