The aristocrat of Italian cinema
Luchino Visconti came from a family that once ruled Milan |
Visconti’s movies include Ossessione, Rocco and His
Brothers, The Leopard, Death in Venice and The Innocent.
One of the pioneers of neorealism – arguably the first to
make a movie that could be so defined – Visconti was also known as the
aristocrat of Italian cinema, figuratively but also literally.
He was born Count don Luchino Visconti di Modrone, the
seventh child of a family descendant from a branch of the House of Visconti,
the family that ruled Milan from the late 13th century until the
early Renaissance.
Paradoxically, although he maintained a lavish lifestyle, Visconti’s
politics were of the left. During the First World War he joined the Italian Communist Party, and many of his films reflected his political leanings, featuring poor
or working class people struggling for their rights.
He enraged Mussolini with his grim portrayal of Italy's poverty in Ossessione (1943), based on James
M Cain’s novel The Postman Always Rings Twice. His first movie as a director, and the film that spawned the neorealist genre that would be the hallmark of
post-War Italian cinema, depicted Fascist Italy as a destitute, windblown country, robbed of its
dignity. Visconti found himself for several months
hounded by the Fascist regime.
The movie poster for the Visconti classic Rocco and His Brothers |
He continued to explore neorealism in his 1948 movie La
Terra Trema – The Earth Trembles – set in the post-War poverty of Sicily, and
to an extent in Rocco and His Brothers (1960), a story of the brutal life of Southern
Italians trying to better themselves in Milan, said to have influenced Martin
Scorsese in his making of Mean Streets and Raging Bull and Francis Ford
Coppola’s interpretation of Mario Puzo’s narrative in The Godfather.
Other Visconti films looked at social change as it affected the wealthy, but with a sense of empathy. The Leopard (1963), based on Giuseppe Tomasi
di Lampedusa’s novel of the same name, was about the decline of the Sicilian
aristocracy at the time of the Renaissance, while The Damned (1969) focussed on
a wealthy German industrialist, whose lavish and decadent lifestyle collapses
as the Nazis consolidate their grip on power in the 1930s.
Death in Venice (1971), the film for which he is most well
known along with as Rocco and His Brothers and The Leopard, was largely
concerned with the homosexual obsession of Dirk Bogarde’s character with a
teenage boy, played by Bjorn Andresen.
Visconti with the actors Sergio Garfagnoli and Bjorn Andresen (right) on the set of Death in Venice |
Away from the big screen, Visconti was a huge fan of opera
and directed productions at La Scala in Milan, several of which featured the
great soprano Maria Callas, the Royal Opera House in London and the Vienna
State Opera.
A heavy smoker, said to have worked his way through up to
120 cigarettes a day, he suffered a stroke in 1972 but continued to
smoke and died in Rome from complications following another stroke on 1976.
From the 1950s, Visconti would frequently retreat to his
villa on the island of Ischia, La Colombaia, built to have the look of a French
medieval castle, which he had purchased from a baron and renovated to an
impeccably high standard.
The villa now houses a foundation in his name and a museum
dedicated to his life.
Ischia is a volcanic island in the Bay of Naples, less
famous than its neighbour, Capri, but some would argue to be more beautiful.
Famous for its thermal springs and its mineral-rich mud, Ischia has been used
as the backdrop for many films. It has
an impressive Aragonese castle, built on a rock near the island in 474 and
accessed by a stone bridge.
Visconti grew up in the Palazzo Visconti di Modrone, a 16th
century palace that can be found in Via Cino del Duca, about one kilometre from
the centre of Milan. It came into the
possession of the modern Visconti family in the 19th century, when
it changed hands for 750,000 lire Milanese.
The building, spread over three floors, is one of the richest examples
of Milanese rococo.