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For [Thomas] Mann's interior dialogue is substituted some of the most ravishingly wrought images Visconti has ever committed to the screen. Aschenbac… - Derek Malcolm
" "For [Thomas] Mann's interior dialogue is substituted some of the most ravishingly wrought images Visconti has ever committed to the screen. Aschenbach’s arrival at the Hotel des Bains of the early century is meticulously detailed and observed. His first sight of the boy, in the bosom of his Polish family, his sniffing out of the cholera epidemic which suddenly decimates the tourists, his ill-at-ease attempts to refurbish himself with the help of the hotel barber, all these episodes could scarcely be better done in terms of direction, art direction and acting. True, the camera lingers lovingly on what has been created. There are times when Visconti scarcely seems concerned about moving the story onwards. Yet it serves its purpose quite as well at Mann’s prose. It is in the final half hour that one's doubts grow, as the boy smiles and smiles at the man, and the man visibly dies under the untouching assault. Perhaps it is here that Dirk Bogarde's otherwise superb performance shows a bit at the seams. We become aware that he is an actor acting, manoeuvring a mask, and that Visconti is watching him do it, lost in admiration.
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About Derek Malcolm
Derek Elliston Michael Malcolm (12 May 1932 – 15 July 2023) was an English film critic and historian. He was the main film critic of The Guardian for about thirty years and later wrote for the London Evening Standard.
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Derek Elliston Michael Malcolm
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Additional quotes by Derek Malcolm
But I was thrilled to bits just to see them and I asked my mother at the interval whether I could meet them. She asked the theatre manager and he came back with a note. It said: "Yes, but don't bring your mother …"
The manager took me to the door of their dressing room and knocked, but left before Hardy answered the door. "Come in, young man," he said. "We have tea and buns on the way for you. This is Stan, by the way, as you can see by his hat. He seldom takes its off, even in bed."
I was tongue-tied. But when the tray of tea and buns came in, I tucked in enthusiastically. Whereupon Hardy took a bun from the tray, placed it on his chair and sat on it. It was, of course, squashed flat. I'm pretty sure he did it to amuse me. But you never knew with Hardy, who preferred playing golf to working.
I've had the luck if that is what you call it to get stuck in a lift with the great Orson Welles and his large wolfhound to take tea with Charlie Chaplin and to interview the always testy John Ford. Ford hated critics and had stomach trouble at the time He summoned me into the room as follows: "Come on in. I can deal with two shits at once".
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