Luchino Visconti’s ambitious opus Ludwig – butchered by distributers during its release and restored to its mammoth original runtime of 4 hours four years after the director’s demise – was a sprawling and operatic study on doomed idealism, extravagant folly, and obsessions bordering on madness. The final chapter in the Italian maestro’s formally dazzling and thematically complex ‘German Trilogy’ – following the unhinged brilliance of The Damned and the smouldering melancholy of Death in Venice, with all three ending with images of death – reminds one of his towering masterpiece The Leopard for its elegy to lavish opulence and Senso for its paean to self-destructive passions. Ludwig II, the “Mad King” of Bavaria, was an inveterate romantic, aesthete and nonconformist who was besotted with Richard Wagner (Trevor Howard), splurged extravagantly to appease the temperamental and opportunistic composer’s egotistic whims, hosted ostentatious operas, and constructed spectacular castles and palaces; he was heartbroken by his unrequited love for his vivacious older cousin sister Elisabeth (whose enigmatic beauty was gloriously evoked by Romy Schneider, having portrayed “Sissi” thrice in the past), pursued his repressed homosexuality as he grew older, and refused to either marry or partake in politics or fight wars. Covering his tormented life from his coronation in 1864 until his mysterious death shortly after his deposition in 1886, the film – in a fascinating narrative choice – was set mostly indoors, largely avoiding any explicit historical depictions and resorting to verbal citations instead, and the proceedings were interspersed with sombre talking-head witnesses by his ministers and inner coterie at a tribunal to judge his mental fitness. Ludwig’s androgynous grace, tormented loneliness, conflicted sexuality, and descent into lunacy was magnetically portrayed by Visconti’s then lover Helmut Berger.
Director: Luchino Visconti
Genre: Drama/Biopic/Historical Biopic
Language: German/Italian
Country: Italy


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