{"id":401,"date":"2015-10-15T10:13:28","date_gmt":"2015-10-15T08:13:28","guid":{"rendered":"https:\/\/patrioti.al\/?p=401"},"modified":"2015-10-15T10:13:28","modified_gmt":"2015-10-15T08:13:28","slug":"morte-a-venezia-1971","status":"publish","type":"post","link":"https:\/\/patrioti.al\/en\/morte-a-venezia-1971\/","title":{"rendered":"Morte a Venezia (1971)"},"content":{"rendered":"

nga Anisa Vrenozi<\/em><\/span><\/p>\n

Regjizor: <\/em><\/strong>Luchino Visconti<\/em><\/p>\n

Aktor\u00eb: <\/em><\/strong>Dirk Bogarde, Bj\u00f6rn Andr\u00e9sen, Silvana Mangano, Romolo Valli<\/em><\/p>\n

Muzika: <\/em><\/strong>Gustav Mahler, Lud\u00ebig van Beethoven, Modest Mussorgsky<\/em><\/p>\n

P\u00ebrshtatur mbi romanin e “Vdekja n\u00eb Venecia\u201d Thomas Mann<\/em><\/strong><\/p>\n

\u201cBukuria, d\u00ebgjom\u00eb mir\u00eb Phaedrus, vet\u00ebm Bukuria \u00ebsht\u00eb hyjnore dhe e dukshme n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb dhe p\u00ebr k\u00ebt\u00eb arsye \u00ebsht\u00eb rruga drejt t\u00eb ndjeshmes, Phaedrus i vog\u00ebl, rruga q\u00eb \u00e7on artistin drejt shpirtit.”-\u00a0<\/em>\u00a0nga romani “Vdekje n\u00eb Venecia\u201d i\u00a0Thomas Mann<\/em><\/p>\n

Kompleksiteti i kinemas\u00eb s\u00eb Luchino Viscontit ka rr\u00ebnj\u00ebt n\u00eb vitet e larg\u00ebta t\u00eb formimit t\u00eb par\u00eb t\u00eb regjizorit t\u00eb madh milanez. Gjat\u00eb k\u00ebtyre viteve, Visconti nuk iu n\u00ebnshtrua nj\u00eb formimi akademik klasik, por nj\u00eb programi m\u00ebsimor individual i cili i lejoi q\u00eb n\u00eb adoleshenc\u00eb t\u00eb p\u00ebrkushtohej nj\u00eb shum\u00ebllojshm\u00ebrie interesash t\u00eb avancuar, t\u00eb ndjekur dhe inkurajuar s\u00eb pari brenda familjes s\u00eb tij. Familja Visconti di Modrone, me origjin\u00eb fisnike, ishte nj\u00eb familje e njohur brenda s\u00eb cil\u00ebs gjat\u00eb dy dekadave t\u00eb para t\u00eb shekullit t\u00eb nj\u00ebzet\u00eb u praktikua dhe zhvillua arti n\u00eb format e tij m\u00eb t\u00eb ndryshme.<\/p>\n

Q\u00eb n\u00eb vitet e tij t\u00eb hershme, Visconti u interesua p\u00ebr teatrin, let\u00ebrsin\u00eb dhe muzik\u00ebn, dhe m\u00eb von\u00eb, rreth viteve 1930, v\u00ebmendja e tij filloi t\u00eb fokusohej edhe n\u00eb kinematografi. I nj\u00eb r\u00ebnd\u00ebsie themelore n\u00eb krijimin e hersh\u00ebm kinematografik t\u00eb Visconti-t ishte p\u00ebrvoja e fituar nga Luchino i ri n\u00eb bashk\u00ebpunimin me regjisorin francez Jean Renoir<\/em> n\u00eb filmin “Une partie de Campagne\u201d <\/em>i vitit 1936 n\u00eb t\u00eb cilin Visconti p\u00ebrjetoi fillimet e tij n\u00eb bot\u00ebn e kinemas\u00eb si asistent regjisor.<\/p>\n

N\u00eb vitet q\u00eb vijojn\u00eb, regjizori Lombard i p\u00ebrkushtohet orendive dhe mjediseve n\u00eb t\u00eb cilat zhvillohen histori dhe ku performojn\u00eb aktor\u00ebt e teatrit dhe kinemas\u00eb \u201cViscontiane\u201d<\/em>. Tendencat artistike tep\u00ebr t\u00eb ve\u00e7anta t\u00eb kinemas\u00eb s\u00eb Visconti-t jan\u00eb tep\u00ebr t\u00eb ndikuara edhe nga privimet, shijet dhe prirjet estetike t\u00eb cilat jan\u00eb pjes\u00eb e jetes\u00ebs s\u00eb klas\u00ebs aristokratike, n\u00eb t\u00eb cil\u00ebn Luchino lindi dhe jetoi.<\/p>\n

Nj\u00eb seri elementesh, t\u00eb kombinuar me stilin letrar t\u00eb krijimeve dhe predispozit\u00ebn e regjizorit p\u00ebr nj\u00eb analiz\u00eb t\u00eb br\u00ebndshme ekzistenciale t\u00eb vetvetes, karakterizon filmat e Visconti-t, t\u00eb cilat mund t\u00eb konsiderohen vepra arti t\u00eb cilat i ofrojn\u00eb shikuesit t\u00eb vet\u00ebdijsh\u00ebm dhe t\u00eb p\u00ebrgatitur kulturalisht arsye t\u00eb panum\u00ebrta p\u00ebr reflektim.<\/p>\n

Ndaj, tematika e pun\u00ebs Visconti-ane \u00ebsht\u00eb aq e pasur sa nj\u00eb analiz\u00eb e filmave mund t\u00eb p\u00ebrq\u00ebndrohet n\u00eb aspekte t\u00eb ndryshme t\u00eb prizmit social, politik dhe historik. Kjo karakteristik\u00eb \u00ebsht\u00eb m\u00eb shum\u00eb evidente n\u00eb krijmet e viteve t\u00eb para t\u00eb regjizorit si La terra trema, Ossessione, Rocco e i suoi fratelli<\/em>\u00a0Senso, <\/em>etj.<\/p>\n

Filmat e viteve m\u00eb t\u00eb vonshme jan\u00eb t\u00eb nj\u00eb natyre m\u00eb letrare dhe intime, t\u00eb pasur me shum\u00eb element\u00eb autobiografik, ku ve\u00e7an\u00ebrisht i r\u00ebnd\u00ebsish\u00ebm n\u00eb k\u00ebt\u00eb drejtim \u00ebsht\u00eb Morte a Venezia, <\/em>krijim i vitit 1971. Filmi i qytetit t\u00eb lagun\u00ebs i vendosur af\u00ebrsisht n\u00eb fillim t\u00eb shekullit t\u00eb nj\u00ebzet\u00eb konsiderohet si nj\u00eb nga kryeveprat m\u00eb t\u00eb m\u00ebdha t\u00eb Viscontit t\u00eb periudh\u00ebs s\u00eb fundit.<\/p>\n

P\u00ebrshtatur nga nj\u00eb roman i Thomas Mann, filmi zbulon q\u00eb n\u00eb momentet e para elemente t\u00eb jet\u00ebs, vdekjes dhe nostalgjis\u00eb q\u00eb n\u00eb m\u00ebnyr\u00eb prek\u00ebse dhe t\u00eb vazhdueshme p\u00ebrndjekin protagonistin e historis\u00eb me imazhet e nj\u00eb lumturie tashm\u00eb t\u00eb venitur.<\/p>\n

Gustav Von Haschenbach (Dirk Bogarde)<\/em>, nj\u00eb muzikant dhe profesor gjerman i cili ia ka kushtuar t\u00ebr\u00eb jet\u00ebn e tij bukuris\u00eb dhe estetik\u00ebs t\u00eb stilit antik grek, i rraskapitur shpirt\u00ebrisht nga nj\u00eb seri ngjarjesh negative q\u00eb ndodhin brenda sfer\u00ebs s\u00eb tij ekzistenciale dhe artistike nd\u00ebrmerr i vet\u00ebm nj\u00eb udh\u00ebtim n\u00eb Venecia. N\u00eb \u201cHotel des Bains\u201d<\/em> n\u00eb t\u00eb cil\u00ebn \u00ebsht\u00eb vendosur muzikanti n\u00eb nj\u00eb kriz\u00eb t\u00eb ndjeshme krijuese, gjith\u00e7ka p\u00ebrshkohet nga pasazhe t\u00eb gjata: holli i Hotelit, salla e ngr\u00ebnies, plazhi gri me r\u00ebr\u00ebn e im\u00ebt, deti i qet\u00eb dhe thuajse metalik\u2026 gjith\u00e7ka n\u00eb plane t\u00eb ngadalta dhe t\u00eb but\u00eb, sikund\u00ebr mendimet dhe ndjenjat e Von Haschenbach<\/em>.<\/p>\n

Ama, \u00ebsht\u00eb bukuria hyjnore e nj\u00eb t\u00eb riu me origjin\u00eb fisnike polake, Tadzio (Bj\u00f6rn Andr\u00e9sen)<\/em>, e cila rr\u00ebmben v\u00ebmendjen e Gustavit dhe i pushton mendimet. I riu Tadzio \u00ebsht\u00eb nj\u00eb simbol i bukuris\u00eb transhendentale, morale dhe absolute. Nd\u00ebrkoh\u00eb \u00ebsht\u00eb edhe element destabilizues i nj\u00eb rendi t\u00eb krijuar n\u00eb ekzistenc\u00ebn e profesorit: engj\u00ebll tundues, midis d\u00eblir\u00ebsis\u00eb dhe lig\u00ebsis\u00eb. Pasioni p\u00ebr Tadzio-n ngjall tek Gustav nj\u00eb mori ndjenjash, ndjesish dhe p\u00ebrjetimesh nostalgjike, t\u00eb cilat krijimi Visconti-an dhe loja aktoriale e Dirk Bogarde- interpretues i njohur i vepr\u00ebs s\u00eb Visconti-t karriera e t\u00eb cilit ishte tashm\u00eb n\u00eb vitet e fundit- i paraqesin n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb shk\u00eblqyer p\u00ebrgjat\u00eb gjith\u00eb filmit.<\/p>\n

Tematika e homoseksualitetit \u00ebsht\u00eb e paraqitur n\u00eb m\u00ebnyr\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb n\u00eb film si nj\u00eb element i qart\u00eb autobiografik i Viscontit-t. P\u00ebrgjat\u00eb viteve t\u00eb krijimtaris\u00eb s\u00eb tij, ishin t\u00eb famshme historit\u00eb e dashuris\u00eb s\u00eb Visconti-t, nd\u00ebr t\u00eb cilat m\u00eb e q\u00ebndrueshmja ishte ajo me aktorin austriak Helmut Berger- protagonist i jasht\u00ebzakonsh\u00ebm i krijimeve Visconti-ane si \u2018La caduta degli dei\u2019<\/em>\u00a0dhe\u00a0\u2018Lud\u00ebig.\u2019<\/em> Muzikanti tashm\u00eb i rr\u00ebmbyer nga nj\u00eb d\u00ebshir\u00eb sensuale, e gjen veten \u00e7mendurisht fajtor p\u00ebr nj\u00eb t\u00ebrheqje t\u00eb pap\u00ebrshkrueshme q\u00eb rr\u00ebmon n\u00eb skutat e t\u00eb kaluar\u00ebs s\u00eb tij dhe bindjet e s\u00eb tashmes.<\/p>\n

Nj\u00eb film sodit\u00ebs dhe dekadent, ku arti dhe bukuria q\u00eb zbehet luajn\u00eb nj\u00eb rol t\u00eb r\u00ebnd\u00ebsis\u00eb s\u00eb par\u00eb. \u201cMorte a Venezia<\/em>\u201d \u00ebsht\u00eb e karakterizuar nga sekuencat e gjata dhe fokusin e plot\u00eb n\u00eb figur\u00ebn e Gustav von Aschenbach<\/em>, nj\u00eb kompozitor i cili kujton figur\u00ebn e shquar t\u00eb kompozitorit austriak Gustav Mahler, mbi t\u00eb cil\u00ebn Thomas Mann krijoi karakterin kryesor tek romani \u201cMorte a Venezia\u201d,<\/em> i cili n\u00eb versionin letrar t\u00eb vepr\u00ebs origjinale \u00ebsht\u00eb nj\u00eb shkrimtar. Madje, n\u00ebse shkojm\u00eb n\u00eb nj\u00eb nivel m\u00eb t\u00eb thell\u00eb v\u00ebzhgimi, e gjith\u00eb t\u00ebr\u00ebsia e karaktereve t\u00eb filmit vepron vet\u00ebm n\u00eb funksion t\u00eb p\u00ebrjetimeve ndjesore t\u00eb Von Aschenbach.<\/em><\/p>\n

P\u00ebr ta b\u00ebr\u00eb atmosfer\u00ebn e p\u00ebrgjithshme t\u00eb nj\u00eb dekadence t\u00eb pashmangshme edhe m\u00eb t\u00eb prekshme \u00ebsht\u00eb p\u00ebrshkrimi i mrekulluesh\u00ebm kinematografik i qytetit t\u00eb Venecias n\u00ebn kthetrat e koler\u00ebs. Von Aschenbach<\/em> p\u00ebrpiqet t\u00eb fsheh gj\u00ebndjen e tij t\u00eb kalbjes fizike, ndoshta edhe shpirt\u00ebrore, duke trukuar n\u00eb m\u00ebnyr\u00eb t\u00eb tep\u00ebrt fytyr\u00ebn. Nd\u00ebr t\u00eb paktit pushues i cili \u00ebsht\u00eb n\u00eb dijeni p\u00ebr epidemin\u00eb q\u00eb ka pushtuar qytetin, ai lajm\u00ebron t\u00eb af\u00ebrmit e Tadzio-s p\u00ebr tu larguar sa nuk \u00ebsht\u00eb von\u00eb e p\u00ebr t\u00eb shp\u00ebtuar djaloshin duke ruajtur n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb bukurin\u00eb e tij t\u00eb pavdekshme.Dhe \u00ebsht\u00eb pik\u00ebrisht kjo bukuri q\u00eb do t\u00eb jet\u00eb d\u00ebnimi i tij\u2026<\/p>\n

N\u00eb plazhin pothuaj t\u00eb shkret\u00eb, i rraskapitur, ai parap\u00ebrfytyron Tadzio-n e p\u00ebrmbytur me drit\u00eb, nj\u00eb mirazh i rinis\u00eb q\u00eb n\u00eb momentet e fundit t\u00eb jet\u00ebs Gustavi p\u00ebrfytyron teksa e rr\u00ebmben pran\u00eb tij. I s\u00ebmur\u00eb nga kolera, vdes n\u00eb vetmi t\u00eb plot\u00eb n\u00eb plazhin e Lido t\u00eb Venecias. N\u00eb momentet e fundit t\u00eb filmit, i nxehti i zjarrt\u00eb shkrin tualetin q\u00eb n\u00eb m\u00ebnyr\u00eb prek\u00ebse dhe groteske \u00ebsht\u00eb b\u00ebr\u00eb tashm\u00eb ‘maska tragjike’ e Von Aschenbach<\/em>.<\/p>\n

\u2018Morte a Venezia\u2019\u00a0<\/em>\u00ebsht\u00eb nj\u00eb paraqitje e gjall\u00eb jo vet\u00ebm e problemeve politike, shoq\u00ebrore, dhe historike, por edhe e dram\u00ebs njer\u00ebzore pa histori dhe anonime, esenc\u00ebs s\u00eb jet\u00ebs dhe vdekjes ose m\u00eb sakt\u00eb i vdekjes si arsye e v\u00ebrtet\u00eb e jet\u00ebs. Asgj\u00eb nuk i \u00ebsht\u00eb l\u00ebn\u00eb rast\u00ebsis\u00eb n\u00eb k\u00ebt\u00eb krijim: kamera dhe fotografia mjesht\u00ebrore me imazhet e denja p\u00ebr kupol\u00ebn Sistine, nj\u00eb Bogarde<\/em> i jasht\u00ebzakonsh\u00ebm, ekspresiv dhe i p\u00ebrmbajtur nj\u00ebkoh\u00ebsisht; dialog\u00eb lakonik\u00eb por kuptimplot\u00eb; kostumografi e p\u00ebrzgjedhur dhe muzika e Mahler, Mussorgsky dhe Beethoven me kompozimet e tyre t\u00eb nd\u00ebrlikuara dhe dekadente, t\u00eb p\u00ebrzgjedhura p\u00ebrsosshm\u00ebrisht ku forma t\u00eb jet\u00eb thelbi i substances n\u00eb \u00e7do sekuenc\u00eb t\u00eb filmit\u2026 thjesht nj\u00eb krijim kinematografik i p\u00ebrsosur.<\/p>\n","protected":false},"excerpt":{"rendered":"

nga Anisa Vrenozi Regjizor: Luchino Visconti Aktor\u00eb: Dirk Bogarde, Bj\u00f6rn Andr\u00e9sen, Silvana Mangano, Romolo Valli Muzika: Gustav Mahler, Lud\u00ebig van Beethoven, Modest Mussorgsky P\u00ebrshtatur mbi romanin e “Vdekja n\u00eb Venecia\u201d Thomas Mann<\/p>\n","protected":false},"author":2,"featured_media":402,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[218],"tags":[224,226],"class_list":["post-401","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersianeekran","tag-filmologji-2","tag-refleksione"],"_links":{"self":[{"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/posts\/401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/comments?post=401"}],"version-history":[{"count":0,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/posts\/401\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/media\/402"}],"wp:attachment":[{"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/media?parent=401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/categories?post=401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/patrioti.al\/en\/wp-json\/wp\/v2\/tags?post=401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}