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Essay / Research Paper Abstract
A 4 page paper which examines how the Italian director’s last film contains a political critique of the ruling class, and also considers the significance of homosexuality and how it is portrayed. Bibliography lists 4 sources.
Page Count:
4 pages (~225 words per page)
File: TG15_TGludwig.rtf
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Unformatted sample text from the term paper:
every opportunity to condemn the ruling class aristocracy. Visconti was a political animal and he insisted that his films express his often controversial views (Le Cain). The most
prevalent theme in Viscontis works is the political decay that arises from "the disintegration of aristocratic individuals" (Ludwig: La Crepuscule des Dieux). It is the ruling classs susceptibility to
decadence that serves as the link connecting the Italian directors cinematic trilogy, The Damned (1969), Death in Venice (1971) and his final film, Ludwig (1972). There are astonishing social parallels
between the artist and his subject in Ludwig. For example, both Louis II (Ludwig) and Visconti were born into elitist families; both were fanatical patrons of the arts; and
both suffered the pains of an unrequited heterosexual love affair before becoming tortured homosexuals (Le Cain). This may be the reason Franco Zeffirelli describes this as "Viscontis most personal
film" (van Watson 308). Perhaps sensing this would be his last film (the director succumbed to a cerebral hemorrhage during its editing process), Ludwig brings Viscontis vision full-circle by
emphasizing the inevitable conflict generated when the old world order of the aristocracy comes in direct contact with the relatively new bourgeoisie, which attacks everything the ruling class stands for
(Ludwig). The cinematic protagonist is the last Bavarian king (1845-1886), a man completely ruled by his heart rather than his head (Ludwig: La Crepuscule des Dieux). His incompetence
makes a mockery of the German ruling class just as Visconti intended. The film opens with the na?ve eighteen-year-old monarch to be informs his priest he will be a
benevolent ruler who will concentrate almost exclusively on the arts and the cultivation of beauty (Le Cain). Then, Viscontis subjective camera pans up to the imposing royal coat of
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