And Susanna the Elders should be waiting. This film is not only canonical, but also extended, for connoisseurs, cinematic Venetian include extremely rarely, which cannot but cause irritated bewilderment: after all, entourage, locations, ' Portrait of the bourgeoisie in black' The worms of Venice are as true as none of the Venetian films of Visconti, none of the costume masterpieces of Merchant-Ivory, if and leaving the city, then in the inner, ' dead' part of the Lagoon, where the waters of the rivers from the Friulian mountains mix with the waves of the Adriatic and the bottom tops are dotted with three-peals of piles, or - to the villas of Brenta, built by the doges, painted by artists of the first Venetian series and in the Sadriacian Canals of Riga, even in the Lagopolis. To the villa, for example, Pisani in Stret, where Mussolini first met with Hitler, and this clarification is by no means superfluous here, since the thirty-eighth year is sinisterly smoldering on the film calendar, the fascist ranks zig in front of the elegant crowd from the balconies of the Procuracies, sparkling white uniforms under dark vaults ' Florian' shameding the urban carious marbles for their untidyness, shamelessly amicoshoning with the fine-faced, all allowing the only predatory people living on the industrial surface of the Rodish, who are not afraid of the new ones.
Venice is fascinated by another historical chance to rise out of decay and rot, and this short-term, doomed, immoral, too, like an overripe courtesan, openly mercenary enchantment of Worm shows as no one else managed. The city of death, whimsical decrepitude, island self-confinement suddenly decides to change it (or, as an option, shake centuries ago the legend of the old days), put on youth, sex and strangers - and loses shamefully and pathetically, though not without its own dignity worn by the Ridotto Barnabotto. His most, perhaps, complete in one movie catalog of deviant sexual episodes (sapphic, homoerotic, group, variously incestuous) the film of Worm owes, of course, its literary basis, the story of Roger Pierfitt, known as a consistent defender of not just homosexuality, but pederasty, but miserable, hopeless, useless make these semi-or unnatural lusts and coitus, directing, acting and camera. Genital crawling, albeit divinely beautiful, Ornella Muti, Stefano Patrici, Zenta Berger provided bodies, can not fix anything in this city, where, according to Vera Polozkova, ' from you always a little bit decreases now and here, as well as the pavement, and in general history, barely'.
It's rootlessness. 'Portrait of the bourgeoisie in black' becomes, at the whim of the writers, a film about Venice, but not about the Venetians. There are no locals even on the palace frescoes: in the Palazzo Barbaro, the chosen home for the Mazzarini nouveau riche family, the camera licks long and voluptuously ' Abduction of Sabine women' Sebastiano Ricci, the plot of an alien, Roman, energy and frankness of violence to the city on the water is hostile, and the head of the family with pleasure quotes Ruskin, who recalled a hundred years earlier about the last Barbaro, who lived out their inglorious century in the attic of the family house that floated out of their powerless hands. The deck of characters shuffles even more bizarrely: Signora Richter, who moved to Venice from Trieste, who lost her economic exceptionalism with the accession to Italy, is chanted by an Orthodox priest in German (it happens the same!) language, Countess Linda from Fusina and does not think to hide her Austrian accent, and Jews with the non-Venetian name Levi are mentioned with eerie pressure among the richest city notables. 'Everything to Communion, greedy as dogs, your patient attracts beauty', Venice, but the time - in the year of the release of the film is already clear - sweeps them all like carnival tinsel. As Borges wrote, ' annual gold rings, which the Duke had to throw, standing on the nose of the Bucentaur, and which in the half-darkness or darkness of the waters turned into innumerable links of an ideal chain stretching through time' The people will leave and the city will stay.