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But I think the film is underrated. What he came away with is a powerful, if ultimately frustrating, meditation on the relationship between homosexuality and artistic failure. For Thomas Mann, as the critics have noted, Tadzio is a classical and aesthetic idea, not an object of lust. He wants to fuck him. Were Visconti a heterosexual, this would be a profoundly homophobic narrative. Whether or not Visconti hated himself for being gay is beside the point. Was Thomas Mann gay?
He was married and had children. Gustav von Aschenbach, in turn, is not gay, not in the book, not in the film. His child dies. His wife dies. His prim, artistic discipline entombs him inside a sterile formalism. A disciplined artist in his 20s or 30s is one thing. The vitality of his youth helps keep the rigid habits necessary to write either novels or symphonies in balance. For Ernest Hemingway, the most disciplined of all American writers, the answer was alcohol.
Bogarde is a handsome, if nondescript looking actor, but here he, quite intentionally, makes himself ugly. He has a wife — the beautiful Marissa Berenson — and a child. They both die. He goes to a brothel.
Above all, while an acclaimed composer, the sources of his inspiration have dried up. He argues with Alfred, a hyper-aggressive friend and artistic collaborator played by an obnoxiously over the top Mark Burns.