The blog of author Dennis Cooper

Category: Uncategorized (Page 780 of 1103)

Gloomy Xmas! 28 defunct Christmas themed parks and attractions *

* (restored)

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Cidade Albanoel (Paraty, Brazil)
If you like your Christmas-themed amusements to have a little more edge, then this derelict Santa Claus theme park in Brazil is for you. The vast park, where construction began in 2000, was intended to be spread over 38 million square metres, but was never completed after the Brazilian politician who came up with the idea was killed in a car crash right outside its entrance. The site remains filled with gradually decaying Santa figurines, rusty reindeer rides and crumbling candy cane turrets, making it feel more eerie than festive.

 

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A Winter Wonderland (Milton Keynes, UK)
Queues for miles, outrageous prices and a melting ice sculpture: it wouldn’t be Christmas without another tale of a disastrous “winter blunderland”. Families who tried to attend the Christmas Wonderland event in Milton Keynes were promised an “evening of enchantment and adventure”. Instead of which they were met with the bizarre spectacle of what appeared to be a man in a wheelchair on fire. Organisers took down their Facebook page after it was inundated with complaints, with some visitors saying they had queued for two hours to get in, only to see some melting ice sculptures and “just fairy lights hung over some trees”.

 

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Santa’s Land USA (Putney, Vermont)
You won’t find a brochure for Santa’s Land USA easily in Vermont. The official Vermont Attractions Map does not list it. It has no billboards. Even the publicity material for Santa’s Land USA’s home town, Putney, VT — which carries glowing descriptions of local businesses like Basketville and the Putney Food Co-op — fails to mention Santa’s Land USA. The entire attraction, which covers many acres of pine-shaded woods, appears to be run by five people: the kindly lady in the gift shop, the guy who sprints between the Sweet Shoppe and Candy Cane Cupboard, the train engineer, the kiddie ride attendant, and Santa. The first thing that catches our eye when we enter the park through the fairyland cottage gift shop is a huge blob of discolored white stuff lying near a little pond. What is it? Fake iceberg? A wad of funnel cake that fell out of Valhalla? The TV in the kid’s video theater in Santa’s Arcade shows nothing but electric snow. We walk up the hill to the quiet of Santa’s House, and can see red legs through the doorway. Santa sits, motionless. We assume he’s a stuffed dummy. Then a truck klaxon echoes through the woods — the over-the-top horn for the tiny Alpine Train — and Santa jerks to life. “Ho ho,” he says groggily. “You caught Santa napping.” The next words out of his mouth startle us even more than finding him asleep. “You look like prosperous gentlemen. Would you like to buy Santa’s Land?” Santa says that the park’s current owner wants to sell the place. The owner’s pumped a lot of money into its electric wiring and septic system — over $100,000 by Santa’s guess — but the right buyers have been as elusive as flying reindeer. The manager abruptly left a couple of weeks ago, and the place is currently run by the multi-tasking Sweet Shoppe guy. “The original owners — I forgot their name, I forget everybody’s name — built it. There used to be an airstrip here. For the war, you know. It’s not here any more.” Santa recalls that a family named Brewer purchased the park in 1970 and ran it for almost 30 years. “This place was Mr. Brewer’s pet. It did quite well for a few years, but then it sort of petered out. They lived up there, in the Igloo Pancake House,” Santa says, pointing into the woods. “Before it was the Igloo Pancake House. If you take the train, and get off at Pancake Junction, you’ll see it. It’s an igloo-type thing.” Note: Santa’s Land USA closed on Dec. 18, 2011.

 

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Dickens Victorian Village (Cambridge, Ohio)
Welcome to Cambridge, Ohio, a small town that, until last year, celebrated the holidays in a big way, from Dickensian street scenes to contemporary light shows. It all started eight years ago, when Bob Ley, who owned a men’s clothing store downtown, traveled to Oglebay Resort, the city park in Wheeling, W.Va. that stages a major holiday light festival every year. Why couldn’t Cambridge capture some of those thousands of drivers traveling along I-77 to Wheeling? So Ley and his wife, a retired English teacher, came up with an idea: Create street scenes, with full-size mannequins depicting life during Dickensian England, and place them throughout downtown. At the annual event’s height in 2013, visitors saw 160 statues – including a cast of characters from Dickens’ “A Christmas Carol,” a group of ice skaters, a chimney sweep, money lenders (placed strategically in front of US Bank), a beggar, a bobby, a blacksmith, and a man in a wheelchair.

 

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Santa Kong (Universal Studios Hollywood)
Disneyland Park went hardcore for the holidays right from the very beginning. Whereas Universal Studios Hollywood (which first started loading tourists on “Glamour Trams” for a tour of their 230-acre backlot back in 1965) took a couple of decades before it finally really fully committed to Christmas. It would periodically try and find fun new ways to celebrate the season. These including taking that 30 foot-tall, 7-ton animatronic ape that guests could see as their tram rolled through that theme park’s old “King Kong Encounter” and then dressing him in a Santa suit.

 

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Magical Winterland (Yorkshire, UK)
It promised a ‘fully immersive’ Christmas experience, with reindeer, a festive market and, of course, Santa’s grotto. But visitors to Yorkshire’s Magical Winterland found it to be far from magical and barely wintry. Children were left in tears as they entered a desolate warehouse with cardboard boxes and random material strewn all over the ground. Magical Winterland only opened its doors on Wednesday, but was forced to pack up just 24 hours later due to its “appalling” quality. There were multiple reports that the attraction’s multiple Father Christmases (five were spotted by some confused children) were alternately too gruff, too skinny or smelt of booze. One elf reportedly told a guest to ‘have a s*** Christmas’. The presents they gave out were cheap, plastic and unwrapped. And then there was the “snow”. ”Mummy, this isn’t snow. It’s strange,” said one child within earshot of this reporter. He was pointing at what looked like dirty papier-mache spread greyly across the mud outside the front entrance. “It looks like paper. I think it’s litter. It looks like litter. It’s stuck to my boot. Mummy, get it off!”

 

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The Death Yard Christmas Haunted Attraction (Nashville, Tennessee)
“Instead of Christmas cheer, we are spreading some holiday fear,” said Carroll Moore, who in 2014 turned his Halloween season “Death Yard Haunted Attraction” in Hendersonville into a Yuletide horror show. For $10 and an unwrapped new toy, visitors passed through the 13,000-square-foot warehouse northeast of Nashville crammed with Yuletide horrors. For $5 more and a second toy, they could go to the paintball range just outside and take 15 shots at Zombie Santa and his friends. “You can unload on the undead,” Moore said. “Maybe Santa Claus wasn’t good to you last year.” Moore also offered chainsaw-wielding maniac elves, rabid and violent reindeer, and killer Mrs. Santa Clauses. The unwrapped new toys were intended to go to Last Minute Toy Store, which operated out of a Nashville church and gave parents who could not afford toys a chance to look for things their children might want, for no cost. All was well until Nita Haywood, who ran the Last Minute Toy Store at the 61st Avenue United Methodist Church, where she was director of youth and family ministries, visited the Horrific Haunted Holiday two days into its intended three week run. “I was horrified and nauseous,” she said. “The presence of the Devil was very, very strong.” After speaking to local police and the mayor, the attraction was immediately shut down. “New toys are new toys,” she said. “But not when they come from Hell.”

 

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Santa’s Village (Dundee, Illinois)
Santa’s Village in East Dundee, Illinois (1959-2006) was a theme park built in 1959 by H. Glenn Holland who also built the other two in San Bernardino County, California and Santa Cruz County, California. This park was the third and last that he built. The buildings were modeled on what an average child might imaging Santa’s Village would look like. When it opened, it was a very prominent theme park. Over the parks history more than 20 million people passed through the front gates. One addition to the park, opened in 1963, was the Polar Dome which provided an ice skating and hockey venue under a forced-air supported dome. On November 28, 1966, a strong wind caused the Polar Dome to collapse. The unsuccessful launch of the Typhoon roller coaster and decreased attention to the aesthetics of the park eventually prompted the corporation to sell. The sale did not proceed as smoothly as hoped, and with many setbacks and unmet deadlines the park had to shut its doors.

 

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Santa Present Park (Hokkaido, Japan)
This amusement park has to be included among the most poorly conceived, planned, built, and attended amusement parks in history. It was tied into a popular ski resort and featured numerous Christmas-themed attractions including four roller coasters. Like all theme parks in Japan, it was only open during the non-winter months. Unfortunately, the ski resort was only open during the winter season. Long story short, after having been built for $10,000,000, it never opened and was torn down after standing empty for eight months.

 

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Magic Forest (Lake George, New York)
This was the weirdest place I’ve ever been. I came for Santa and for Lightning the diving horse, and stayed for all the other weeeeird ass shit. It was OLD OLD OLD, snack bar (wish I’d brought my own food) OLD OLD OLD. Sign on the gift shop read, closed but go to the snack shop if you want to buy something. During the Christmas Safari ride (don’t ask me), we noted three instances of racist portrayals. As we got on the ride, I almost knew it was coming. The first was a display with a person being boiled in a pot with dark-skinned mannequins all around holding spears. Ugh. The whole park was dirty, in definite disrepair, and some of the ride operators were creepy, rude and two seemed kinda drunk. Needless to say, it was magical! RIP

 

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Sherborne Wharf’s Search for Santa (Birmingham, UK)
Until 2014, Sherborne Wharf near Brindleyplace used to run canal trips through Birmingham city centre on a quest to find Father Christmas. All participants were geared up with the latest “Santa-detecting technology” and shipped off aboard narrow boats in search of the Man in Red himself. Apparently finding him wasn’t very hard and, when he was found, he wasn’t very interesting.

 

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Santa’s Village (Scotts Valley, California)
In 1958, Santa’s Village was created in the wooded hills of the Santa Cruz mountains. This Christmas wonderland served thousands of park visitors each year with its holiday cheer! Residents of Santa’s Village included Santa and Mrs. Claus, their elves and gnomes, who operated the rides and sold tickets. There was a baby petting zoo filled with goats, sheep, bunnies, ducks, deer and a Mexican burro. Children could feed the animals green feed pelets that they purchased from dispensing machines. Four reindeer from Unalakleet, Alaska, pulled Santa’s sleigh. There was a bobsled ride, a whirling Christmas tree ride and a miniature Santa’s Express train ride. Other attractions included a giant Jack-in-the-Box, an Alice in Wonderland maze, Santa’s enormous boot, brightly painted cement mushrooms and a Queen of Hearts figure … all part of Fairytale Land. Mrs. Claus had her own kitchen, where hamburgers, hotdogs and steak sandwiches were served. An egg-shaped cottage and a shoehouse were open for children’s exploration and imaginations. In 1977, after the Santa’s Village Corporation had filed for bankruptcy, Billawalla bought the whole of Santa’s Village for $615,000, speculating that he could build a more attractive theme park there. The City of Scotts Valley rejected Billawalla’s plan to create a Knott’s Berry Farm-type complex, which would have included a hotel, a shopping center and rides. That year there were heavy rains during the park’s peak season of November and December, coupled with the political bureaucracy of the City of Scotts Valley … it proved to be the death nell for Santa’s Village.

 

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Parlor Lucky (Tokyo, Japan)
Parlor Lucky was a karaoke bar in the Ginza section of Tokyo where patrons could only enter if they were wearing a Santa Claus costume. Costumes could be rented at the Santa Claus Everyday rental costume store next door.

 

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Christmas Land (Marshall, Texas)
Seasonal attraction with year-round Santa statue, sometimes headless, now reduced to an entry sign.

 

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Christmas Fantasy Village (Great Bend, Kansas)
Christmas Fantasy Village (1979 – 2000) was located on Highway 281 about 3 miles south of Great Bend. If you followed the lighted signs during the winter that started at 10th and Main, you were able to find it. You knew you were there when you saw the 50 foot tall lighted snowman! The Christmas Fantasy Village started as a couple’s celebration of Christmas, and turned into a local event.

 

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Santa Land and Zoo (Cherokee, North Carolina)
I haven’t been able to find out the history of the park, but I suspect it was around for a while. Many of its kiddie rides dated back to the 1950s and a few of them came from the Allan Herschell factory. The Rudicoaster was exactly the same as the coaster in Santa’s Village in Ontario; a steel figure-8 configuration with a Rudolph themed car in the front. There was also the token train, a CP Huntington, that went around the entire park. Kids could visit with Santa in his house every day. He had a large sleigh they could sit in and tell him their secret wishes.

 

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Elf School (Brierly Hill, UK)
For one strange Christmas season in 2013, kids from Brierly Hill and beyond were welcome to enroll in Elf School, going through what as billed as a complete elf makeover, learning an elf chant, and taking home their own elf hat. Finally, they got to meet Santa and visit his toy shop where they could choose a present to take home with them. The Elf School experiment was never repeated because many parents complained that, after the event, their children were acting strangely and, in some cases, refused to return to their human form to the point that the parents were driven to seek psychological counseling for their brainwashed children.

 

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SCUBA Claus (Tennessee Aquarium)
Did you know, in the midst of tackling the seemingly impossible task of delivering presents to every home on the planet, Santa Claus found the time to get SCUBA certified? From the heat 2013 to 2017 guests to the Aquarium were familiar with (and fond of) Saint Nick’s annual underwater visits to the Nickajack Lake and River Giants exhibits. Until the visits were discontinued, they could catch the Jolly Old Elf’s dives and press their wish lists against the glass on Saturdays and Sundays from Nov. 18 to Dec. 17.

 

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Santa Land (Santa Claus, Arizona)
Nina Talbot and her husband founded Santa Clause in 1937 with the hopes of turning the desolate wasteland into a place where families could settle and live the suburban dream. They hoped to attract investors with North Pole themed buildings and children’s attractions dubbed Santa Claus Land. Unfortunately for the Talbots, investors never came. Thought a diner in the quaint snowy desert oasis gained a few fans through the years—including Duncan Hines and actress Jane Russell—the Nina Talbot sold the land in 1949. By the 1970s, the town had started to fall into disrepair. Now, derelict wooden huts and barbed wire fences are clear signs that Santa Claus doesn’t live there anymore.

Alive

Dead

 

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Eastland Mall Christmas (Charlotte, North Carolina)
Eastland Mall was famous in North Carolina in the 1990s for its yearly elaborate Christmas makeover. Until everyone stopped going there. Or caring. In about the year 2000 when it closed and became an empty shell. There were plans to turn the giant building into a movie studio but they never panned out. So they tore it down.

 

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Santa’s Village (Lake Arrowhead, California)

 

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Santa Claus Land (Santa Claus, Indiana)
Santa Claus Land opened August 3, 1946; the theme park included a toy shop, toy displays, a restaurant, themed children’s rides, and, of course, Santa. Koch’s son Bill soon became the head of Santa Claus Land. In 1960, Bill married “Santa’s daughter,” Patricia Yellig; he remained active in the family business until his death in 2001. Bill and Pat had five children; the eldest, Will, was the park’s president for more than 20 years until his unexpected death in 2010. Over the decades, Santa Claus Land flourished. Children from across the country came to sit on the real Santa’s knee and whisper their Christmas wishes. Guests included Ronald Reagan, who stopped by in 1955.

 

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Ruislip Winter Wonderland (Northolt, UK)
Parents have vented their fury after another winter wonderland festive fun fair has been cancelled just two days before it was due to open. Despite announcing the event more than a month ago, the Ruislip Winter Wonderland in north London, was cancelled yesterday with organisers citing a disagreement with landowners. Today, one day before the scheduled opening, the site earmarked for the funfair at India Gardens in Northolt appeared barren and undeveloped. A “star-studded” opening night featuring appearances from I’m A Celebrity contestant David Van Day, EastEnders actor Matt Lapinskas and Coronation Street star Adam Rickitt was due to take place tomorrow. Other celebrity scheduled guests included Blue singer Lee Ryan, Another Level singer Dane Bowers and boxer Joe Calzaghe. Since the statement was posted more than 200 angry parents have posted messages over their disappointment, with some saying they believed it might have been a hoax. Nicola Powis commented: “The idiot running it has showed unprofessionalism, petulance and idiocy in all of the responses to the comments. I don’t believe they ever had any intention of putting on the event. Idiots.”

 

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Minnie’s Christmas Party (Anaheim, California)
Minnie’s Christmas Party premiered at Disneyland on November 2, 2001, for the 2001 holiday season. But that was the end of its run. In fact, that was the end of having Christmas shows in the Fantasyland Theatre. Minnie’s Christmas Party was virtually nonexistent in scope. The set was simplistic and flimsy enough that vibrations from the passing monorail caused it to shake so violently that an earthquake was hastily written into its plot. The plot — humans visit Minnie Mouse on Christmas — was dispatched with in five seconds followed by 45 minutes of yelling, jumping up and down, and painful stretches of up to minutes with performers standing in stunned silence. The script seemed to be written for children under the age of 1 year old.

 

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The Christmas Factory (Athens, Greece)
If you are outside of the country of Greece, the Greek National Tourism Organization would like you to believe that The Christmas Factory, “the most fabulous factory of Christmas”, has returned to Technopolis – City of Athens in Gazi from November 28, 2015 to January 6, 2016. It is claimed this amazing theme park is installed in the centre of the city and – “with the help of elves, fairies and goblins – aims to spread the magic of Christmas to all visitors to Greece”. Holiday travelers to Athens are told of the games, sweets, ‘cheats’, songs, presents, awards awaiting them at the Santa’s House, the Toys Factory, the Digital Christmas, the Sweet Factory, the Ice Rink, the Carousel, the Train, the Wheel and the Slides “thanks to these fanciful heroes”. The interesting thing is that there is no advertising for The Christmas Factory inside of Greece. That is because there is no money in Greece to produce The Christmas Factory this year. Visitors lured to Athens by the florid advertising for The Christmas Factory which is widespread throughout Europe, paid for by God knows whom, will, upon reaching the site of The Christmas Factory, find instead a single mechanical man statue dressed in a Santa Claus costume that has seen better days standing on the sidewalk. His recorded and looped voice thanks whoever has found him for visiting Greece in its time of need. You will also find two members of the military stationed near the Santa Claus mechanical man who will confiscate your phone or camera if you try to take a picture.

 

 

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p.s. Hey. ** David Ehrenstein, Happy Xmas to you should such a wish be relevant. Oops, about the top gif. Err, I’ll find a replacement. Wonderful backstory stuff about Visconti, much appreciated. That’s an awesome favourite Xmas song, I must say! Glad to see mine isn’t the only blog that’s marking the occasion. Everyone, After you’ve had Xmas at DC’s, or, well, before or during if you prefer, go spend Xmas at the FaBlog where David has done up a festive, timely, Ehrensteinian shebang for you. Here. ** _Black_Acrylic, Happy happy! Well, I suppose if my Xmas morning wasn’t exactly like every other of my mornings, I would take the blogging day off, but … Your day ahead sounds most lovely. Hope it is/was. ** Misanthrope, I hope your gifts contain worlds. You’re reading Welty. That is something of a surprise. I haven’t read that one. I’ve quite liked what I’ve read by her. Denis Johnson: I think ‘Jesus’ Son’s’ status as a modern classic is fully justified. Killer writing. I like some of his early novels. especially ‘Resuscitation of a Hanged Man’, which I think is my favorite. I remember thinking ‘Already Dead’ had great stuff in it but was maybe a little drawn out. I haven’t read the last few. But, yeah, I would say read ‘Jesus’ Son’ at least, if you haven’t. Have a super swell big day. ** Grant Maierhofer, Hi, G. Thank you for asking him to send me the book. I love that press, Inside the Castle. One of the very, very best out there for sure. Thanks about the holidays. They’re being … fair to me, I guess I would say. Have a great whatever you do today. ** KK, Yeah, I’m definitely gonna hunt that down. Maybe today. Glad you’re working on the new book. Oh, I think books should be as long as they are and no longer even if that makes them slightly harder to get published (… although I think the stigma that short books are harder to publish is a bit of a lie. That said, my new novel, which is quite short, has gotten ‘would you consider fleshing it out’ comments from editors, but when I say no, absolutely not, that doesn’t seem to be a rejection trigger.) IHOP. and with a Satanist no less. I miss IHOP. I was just longing to eat at an IHOP just the other day. I hope there are shitloads of gifts for you under a tree somewhere today. ** Corey Heiferman, Happy Xmas and/or its equivalents to you! No, the buche I ended up getting — by default since my top choices were sold out — is one with a sparkler in it that you light and that then not only gives you a little cake-bound fireworks show but supposedly also ‘reinvents’ the buche, but I’ll believe it when I see it, meaning as soon as it gets darkish here, meaning around 4:45 pm. I’m an early to bed, early to rise guy, and it seems to make me productive. Infatuations are such a great idea fuel. For me, historically. Cool. There are no murkier waters than those, so says I. I went bi-slanted-towards-heterosexual for about a year or so in the early 80s, and I liked it. It was very invigorating and strange while it lasted. I’ll look at that Jan Nemec vid thing, thanks. I’m used to watching films without English subtitles. Well, in fact I basically live in foreignness without English subtitles. Glad you and Quinn mutually located. If anything out of the ordinary happens on his designated day, max it out. ** Barkley, Hi, Barkley! A very, very Merry Xmas to you!!!!! ** Okay. I decided to give you a gloomy Xmas, or sort of gloomy depending on how you define gloom. Anyway, enjoy your todays, and I’ll see you in the Santa-free world tomorrow.

Luchino Visconti Day

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‘During his lifetime, Visconti changed his spots as often as Tancredi. Born into one of the wealthiest and noblest families in Italy, he flirted with Fascism before becoming a lifelong Communist who was imprisoned by the Nazis for his involvement with the resistance. In his work, too, Visconti did more about-faces than the soldiers who appear in many of his movies. He went from being the poster boy for Italian neorealism to being pilloried for sacrificing the political content of his films at the altar of melodramatic excess. As one critic wrote of Visconti, he was “a walking oxymoron of operatic realism, bisexuality and restrained extravagance.”

‘The director’s oeuvre is now being re-evaluated and may finally be moving out of the margins of highbrow camp. “Visconti set the bar, he was the mark of quality,” says Caterina d’Amico, the organizer of a recent major retrospective of Visconti’s work, “Visconti e Il Suo Tempo” (“Visconti and His Time”). “People like Bertolucci would never have dreamt of making the kinds of films they did if it wasn’t for Visconti. But among the young, his influence is more subconscious — most of these kids don’t know that they are Visconti’s cultural grandchildren.”

‘Luchino Visconti was born in 1906, into one of the oldest families in Milan, a lineage that is said to go as far back as Charlemagne. Visconti’s family was part of the inner circle of King Victor Emmanuel III and Queen Elena, and he and his siblings often went riding with the children of the royal family. Visconti’s love of horses extended into his adulthood, and, ever the dilettante, he spent eight years as a young man racing and breeding them.

‘In the mid-1930’s, however, he moved to Paris and met the photographer Horst P. Horst and Coco Chanel, both of whom are widely believed to have been his lovers. Chanel introduced him to the filmmaker Jean Renoir, for whom Visconti worked as an assistant director and a costume designer. While Renoir, the director of La Grande Illusion, undoubtedly shaped Visconti’s aesthetic, he and his Marxist circle also molded Visconti’s politics. Visconti swung to the left and maintained his allegiance to the Italian Communist Party for the rest of his life.

‘The films of Luchino Visconti are among the most stylistically and intellectually influential of postwar Italian cinema. He integrated the most heterogeneous elements of aristocratic sensibility and taste with a committed Marxist political consciousness, backed by a firm knowledge of Italian class structure. Visconti worked effectively and repeatedly with Anna Magnani, Silvana Mangano Claudia Cardinale, Marcello Mastroianni, Alain Delon, Dirk Bogarde, and Helmut Berger. He turned out films steadily but rather slowly from 1942 to 1976. His obsessive care with narrative and filmic materials is apparent in the majority of his films.

‘Visconti was incredibly well read, and his fixation with 19th-century realist fiction — Stendhal, Balzac, Dostoyevsky — is evident in the granular attention to detail he brought to his movies. Although the themes of his films would evolve from the sociopolitical to the psychological — from the relative economical simplicity of Ossessione to the operatic grandeur of Ludwig — his obsession with exactitude remained constant. Visconti’s final film was The Innocent (1976), in which he returns to his recurring interest in infidelity and betrayal. He died in Rome of a stroke at age 69.’ — Horacio Silvia, BFI

 

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Further

Luchino Visconti Website (in Italian)
Luchino Visconti Fan Site (in Italian)
Luchino Visconti’s films on DVD & Blu-ray (UK)
Luchino Visconti’s films on DVD & Blu-ray (USA)
Luchino Visconti @ mubi
‘Visconti’s Cinema of Twilight’ @ Senses of Cinema
‘Visconti Revisited Take 2’
‘Luchino Visconti’s Rocco and His Brothers: Poverty and Possibility, Heroism and Decadence in Italy’
‘Of masterpieces and costumes: on Luchino Visconti’s The Leopard’
‘Haunted frames: history and landscape in Luchino Visconti’s Ossessione’
Luchino Visconti Filmography

 

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Extras


C’était quoi Luchino Visconti ? – Blow up – ARTE


“Visconti” (1967)


LUCHINO VISCONTI ON ACTING AND FILMMAKING


THE HIDDEN ANGELES OF LUCHINO VISCONTI- Trailer

 

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Interview (1971)
by Guy Flatley

Mr. Visconti, is it true that you threw a tantrum at the Cannes Festival because ‘Death in Venice’ did not win first prize, that you threatened never to return to Cannes, and that the only way the jury managed to calm you down was by coming up with a brand new prize called the 25th Anniversary Award?

Luchino Visconti: Such gossip! The prize they gave me at Cannes was much more important than the one they gave to Joseph Losey. They make special prize for me–-not just for Death in Venice, but for all my films. So far, it goes very well with this movie. In London, there are long queues, lots of young people with guitars and beads. It makes me very happy that the young people can understand the movie’s point of view, that they can understand this kind of love.

Some people feel that “this kind of love” is homosexual love, that Visconti’s movie, even more than Thomas Mann’s story, is simply the study of a repressed homosexual who is suddenly seized by an overwhelming desire for a stunning adolescent boy.

LV: The love is not homosexual. It is love without eroticism, without sexuality. And young people today know that love is the most important sentiment. Sex is important, too, but it is a consequence of love. The boy in the story represents the sentiment of love; he is the symbol for beauty. Aschenbach pursues the idea of beauty and when he sees that this perfection really does exist, it is a great consolation. But it has its fatal aspect.

In Thomas Mann’s story, Aschenbach was a writer, but in Visconti’s movie, Aschenbach–-brought boldly to life by Dirk Bogarde-–is a composer.

LV: It was easier for me to give the impression I wished by making him a musician, and also I wanted to use the music of Gustav Mahler. I believe that Mann was thinking of Mahler when he wrote Death in Venice. There is much evidence to support this theory; Mann’s daughter thinks the story is about Mahler. When Mahler’s daughter learned that I was making the film, she became anxious about her father’s reputation. I heard from her a week ago. ‘I have found my serenity once again,’ she told me. She had seen my movie and her mind was set completely at ease.

‘The Damned’ is Visconti’s bone-chilling portrait of that German industrialist family and its role in the rise of Nazism. One typical scene showed Helmut Berger, as the clan’s most enterprising pervert, brutally raping his murderous mother, played in chalk-face by Ingrid Thulin. That celebrated bedroom scene has already been made to look slightly old-hat by recent developments in the American New Wave.

LV: We see now a great flowering of American films. There are many scenes that make the one between Helmut and Ingrid look like a piece of sugar-–a family matter. Like Andy Warhol’s Trash. That was a little stronger than incest, wouldn’t you say?

The sea of sadism, incest and homosexuality that surged through ‘The Damned’ was surely an artistic exaggeration?

LV: There is invention in the film, but the invention is in the direction of reality. That family was the Krupp family, and all those S. A. troops were homosexual. The way I showed The Night of the Long Knives-–the slaughter of the young boys in their beds-–is exactly the way it was reported by witnesses. Above all, The Damned is a social and political document.

Although he is a member of an aristocratic family and once held the title of count and is even reported to be a millionaire, Visconti denies the charge that he votes left but lives right.

LV: Italy is a republic now. I am not a count; I’m nothing. My family was very rich, yes, but not me. I work all the time. I do like to live comfortably, but that does not prohibit me from having ideas about social reform. I don’t have to wear a burlap bag and live in a stable to feel that way, do I? I feel that we are heading toward a better society-–with the proper equilibrium, without Maoist extremism. The world can’t go backward, it must go forward.

 

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12 of Luchino Visconti’s 21 films

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Ossessione (1943)
‘Visconti’s intepretation of James M Cain’s novel “The Postman Always Rings Twice”. This poetic mixture of noir and neorealism forces the audience to sympathise with the central act of murder as an impulse as much as a decision, identifying it with the intense, smouldering sex appeal of the perpetrating couple – especially Gino (Massimo Girotti), whose every movement (shaving, taking off his singlet, feeling his stubble) is both lovingly fetishised, and defined against the sweaty, repulsive corpulence of his victim. This sex appeal is, in turn, integrated into a more general sensual impulse, of which the narrative crises are mere instances, and whose most obvious corollary is the amorphous crowd against which those crises tend to occur.’ — A Film Canon


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La Terra Trema (1948)
‘ Luchino Visconti’s early neorealist classic La Terra Trema (The Earth Will Tremble) was commissioned from Visconti by Italy’s Communist party, who originally wanted him to make a documentary about Sicilian fisherman to be used as propaganda in the upcoming election. After falling in love with the Sicilian fishing village of Aci Trezza Visconti decided not to make a documentary, but opted instead to use the real people and locations he observed there to tell a fictional story, a loose adaptation of Giovanni Verga’s novel I Malavoglia which Visconti fleshed out with liberal amounts of original material.’ — Pop Matters


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Senso (1954)
‘As with much of Visconti’s work, ‘Senso’ caused a battle with the censors. The film was a critique of the dominant discourse and creation of the triumphalists myths surrounding the Risorgimento fight for unification of Italy. ‘Senso’ is the first of three films which deal with European nationalism very directly the others being ‘The Leopard’ (1963), and ‘The Damned (1969)’. ‘Senso’ explores the myth underlying the unification stories of the Risorgimento in the years leading to the the removal of the Austrian Empire from its control of much of Northern Italy. In 1866 when the events of ‘Senso’ are taking place a revolt in Palermo is crushed on orders from the government of Italy based at the time in Turin. The potential for a popular movement is effectively denied by those in command of the Italian forces. The film shows the complicity, compromises and collusion and processes of hegemony taking place amongst the fractured ruling elites. Nationalism can still be seen as progressive in the Marxist sense of modernity ushering in a more dynamic social order.’ — Kinoeye


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Le Notte Bianchi (1957)
‘Centring on a sustained testimony and the composition of a crucial letter, Dostoyevsky’s iconic novella makes for an unusual translation into cinematic language, as Visconti uses it both as a convenient transition between his earlier, testimonial neorealism, and the aristocratic, melodramatic formalism of his subsequent works, and, more strikingly, as the pretext for elaborating a nexus between speech and sight. Visconti simultaneously compresses and distends space, suffusing the evocative streetscapes with an inky blackness that flattens everything outside of the lover’s faces, and expanding even the most shallow interior spaces (most poetically a series of shop displays), until the most panoramic vantage point is gained by gazing in at the lovers through a foggy window – at least in realistic terms, since the correspondence between this impossible spatial requirement and the anamorphic world of fairy tales is explicated in the final sequence.’ — A Film Canon


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Rocco and His Brothers (1960)
”Rocco e i suoi fratelli’ (Rocco and His Brothers) is a 1960 Italian and French film directed by Luchino Visconti. Set in Milan, it tells the story of an immigrant family from the South and its disintegration in the society of the industrial North. The film stars Alain Delon, Renato Salvatori, Annie Girardot, and Claudia Cardinale, in one of her early roles before she became internationally known. The plot revolves around the prostitute, Nadia (Annie Girardot), who is pursued and desired by both Simone and Rocco (Alain Delon). The pivotal scene in the film comes when Simone rapes Nadia in front of Rocco, who then gives her up to his brother out of a tragic, misplaced desire to do whatever it takes to keep his family whole. During shooting, the film was seized and Visconti asked to delete the scenes showing Nadia’s rape and murder. Visconti was not vindicated until a court judgement of 1966.’ — Wikipedia


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The Leopard (1963)
‘Luchino Visconti was the aristocrat of Italian cinema, and also an avowed Marxist. That fact alone makes his films intriguing, none more so than ‘The Leopard’, one of the grandest widescreen historical epics. There is a sensuousness about the direction that perfectly matched the ideas behind the film, the most sophisticated of which was that, even when the old order was able to reach an accommodation to the new, it brought a kind of corrupting decadence with it. All this was very different from the orthodox Marxism of films like ‘La Terra Trema’. But then Visconti was as full of ambiguities as many of his films. He viewed the world as a kind of melodrama in which passion and destiny predominated.’ — The Guardian


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Vaghe stelle dell’Orsa… (1965)
‘An admitted steal from Electra, Luchino Visconti’s modernized story is set in a small Italian town where Sandra (Claudia Cardinale) brings her new husband, Andrew (Michael Craig), for a visit to the old family palazzo. Family’s disintegration, not to say degeneracy, emerges in rapid strokes, via an explicitly told tale of a far from chilled love affair between Sandra and her brother, Gianni (Jean Sorel), plus their mother’s near-insanity, their father’s mysterious death at Auschwitz, and the new and fairly sinister presence of their mother’s second husband, Gilardini (Renzo Ricci).’ — Variety


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The Damned (1969)
‘Luchino Visconti’s The Damned may be the chef d’oeuvre of the great Italian director—a spectacle of such greedy passion, such uncompromising sensation, and such obscene shock that it makes you realize how small and safe and ordinary most movies are. Experiencing it is like taking a whiff of ammonia—it’s not conventionally pleasant, but it makes you see the outlines of everything around you with just a little more clarity. The Damned, while having validity as a political and social parable, is mind-blinding as a spectacle of fabulous corruption, detailed within the family organism that so fascinates Visconti. The entire film evokes a sense of makeup and masquerade, both physical and emotional. Color also is important. The first shot of the movie is a close-up of the orange flames of a blast furnace, after which the light seems to dim progressively to a twilight, set off by splotches of red, first a flower in a buttonhole, then Nazi armbands and flags and, finally, blood.’ — The New York Times


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Death in Venice (1971)
‘At the close of Visconti’s Death in Venice the presence of the camera on the beach appears to point to its own capacity for illusion. But the paradox goes beyond questions about artistic deception. It concerns “art on the verge of its own impossibility,” as Heller says. Form that is constantly threatened with formlessness: this is the irony that confronts Kierkegaard’s “moralist incognito.” And in every detail of this film, which records the dissolution not only of the central character, but of a city, of art – in fact, of civilized existence – there is evidence of the artist’s determination to form. All artists attempt it; a few, like Mann and Visconti and those they emulate, convince us that they can shape it in their work. They show the last change of mind: how to win from the irremediable a measure of hope and time.’ — Culture Court


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Ludwig (1972)
‘Visconti has suggested when discussing his filmic style that a prowling eye (in this case Visconti’s camera) can discover almost everything it needs to know just by looking. In ‘Ludwig’ there are wonderful sequences where the camera glides slowly, over the landscapes, the castles, the ceremonials of the royalty, looking at all the quirks of behavior and social etiquette with such attention to detail like a patient sociologist taking notes. It is here where the richness of Visconti’s work becomes most apparent. Visconti achieves a stately narrative pace suggesting the slow deterioration of this society. We look at all the possibilities that Ludwig had when he assumed throne and then look at the damage that precedes and wonder what could have happened. Visconti’s images are full of information. The dominant images are of brooding sadness and of slow and inevitable decay. Even thou we know exactly how Ludwig arrived at these conditions, it is still hard to believe what we are seeing, but we continue to stare at the disaster with fascination.’ — The Spinning Image


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Conversation Piece (1975)
”Conversation Piece’ is a disaster, the kind that prompts giggles from victims in the audience who, willingly, sit through it all feeling as if they were drowning in three inches of water. The film continues to explore concerns that occupied Mr. Visconti in both ‘The Leopard’ and in his later screen adaptation of ‘Death in Venice.’ The barbarians, the forces that represent social and political change and that acknowledge their physical passions, are attacking a citadel of the intellect, a place where reason has reigned at the cost of any possibility of love or commitment. It’s one of Mr. Visconti’s more dubious propositions that a person of taste and intelligence must always sleep alone in sterile splendor.’ — The New York Times


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L’Innocente (1976)
‘Coming after the dissolute wackiness of Ludwig and the cavorting valedictory of Conversation Piece, Luchino Visconti’s swan song L’Innocente is something of a genteel and stately affair. Tullio (Giancarlo Giannini) is a jaded aristocrat in late 19th-century Italy, a Byronic brooder whose melancholy both torments him and makes him feel alive: “An ill person who rejoices in his own illness” is how he’s described by his neglected young wife Giuliana (Laura Antonelli), who struggles to keep up a cool façade as he casually ditches her at a concert to visit his mistress, the widowed Countess Teresa (Jennifer O’Neill). Tullio’s interest in Giuliana is reawakened upon discovery of her fling with a handsome writer (Marc Porel), yet his newfound passion is tested when she gives birth to an illegitimate son. If Burt Lancaster’s Prince of Salina in The Leopard was a classical man witnessing his world vanishing into modernity, Giannini’s Tullio is a modern man trying in vain to detach himself from classical morals through atheism, hedonism, and a last, monstrous act against innocence. Reportedly directing from a wheelchair, the dying Visconti suppresses his penchant for heightened dramaturgy in favor of languid severities that, thanks to expressive sequences such as Tullio and Giuliana’s elegiac visit to the villa where they fell in love, stay on the right side of Merchant-Ivory stodginess. The maestro’s fastidious fixation on sumptuous décor remains intact, however, with the camera doting on the way a noblewoman’s veil is pinned in place and lingering on the dozens of contrasting bearskins that cover a couch. While marveling at the scarlet velvet wallpaper, Visconti regrettably fails to realize that Giannini in fin-de-siècle frock coats looks like a mildly hung-over gigolo who got off on the wrong floor. (By contrast, Italian softcore queen Antonelli is sexy and delicately touching.) L’Innocente is a peculiarly adagio note on which to close a career with so many fortissimo gestures, though, by exploring the desires seething under society’s lacquered surfaces, it proves also to be a fitting one.’ — Slant


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p.s. Hey. ** _Black_Acrylic, All thanks to the three originators wherever they may be. That FS book looks cool. So nice that there are people dedicated to his legacy. ** David Ehrenstein, MacDonald was a prose stylist of the highest order. ** Steve Erickson, Wow, okay, then I’ll definitely see what I can find of it. That series. ** Bill, Yes, that post is quite ancient. 9 years, 10 years? I forget. Thank you for the seasons greetings, Bill. I finally scored a buche yesterday after having left it so late that most of the best ones were already sold out. But I think mine’ll work. It has a sparkler inside it that you light and which then supposedly redesigns the buche as it sparkles or something. Oh, I’m guessing you’re on your way to the East? (Or maybe it’s west from where you are.) Have fun. Nice you’re reading Kevin as today would have been his 67th birthday. ** Nick Toti, Thanks, Nick. High five. Really, about ‘Cats’? I don’t know, man, based on the footage I’ve seen, I don’t think I can do it. Or not until I have the option of turning it off. But that’s very interesting to know you found the unexpected in it. You’re the first to make that particular case that I’ve heard/read. Okay, rain check then. Have a great tomorrow whatever it involves. ** Ferdinand, The German versions had nice covers. They were published by a press that mostly published theory and philosophy books, so they had that look. Which I liked. Oh, wow, seriously? Congrats about the wedding. And about the Paris honeymoon. Let’s coffee or something. ** Paul Curran, Hi, Paul! Happy happy Xmas! I assume you’re doing it up for your kiddo? Things are okay, thanks. Nothing firm on Japan yet, but nothing standing in the trip’s way. Just need to sort it. Zac and I are on a deadly deadline to finish the gruesome TV series script in the next two weeks, and my brain is mostly in that quicksand. Oh, whoa! Gary Shipley is republishing ‘Left Hand’! Did you change things? Man, that’s fantastic news! It’s alive, or almost! When’s the pub date? So nice to see you, man, and hopefully again the flesh before too long. ** Misanthrope, Holidays will do that to you, assuming you’re on one. Oh, I see, you are. Novel editing, good, check. Requisite visit to the new Timothy Chalet vehicle, gotcha, check. I hope you have a super swell Xmas tomorrow or tonight or whenever you Wines people do that shit. ** James, Funny, my father didn’t have a hidden porn stash, but my mother did. Several of them, in fact, ‘hidden’ in various rooms in our house. Complicated woman. Yes, I got the pdf. Thank you very much! I look forward greatly to read it! Happy Xmas to you! I’m going to eat a buche and walk around in deserted Paris enjoying the post-apocalyptic vibe and that’s pretty much my Xmas day. Much love, me. ** KK, Hi, man! Happy Xmas and all that good stuff. I haven’t seen the Lil Peep doc yet. I want to, mostly for obvious Malick-attached reason, although LP is interesting too. Huh. Okay, I’ll go find it wherever it is. Thanks, buddy! ** Grant Maierhofer, Hi, Grant! Well, of course, re: your book. Uh, I don’t think ‘Peripatet’ reached me. I’m pretty sure I would know if it had. You bailed on social media? Good on you. Yes, do feel more than free to transfer your online present to here as often as possible and likeable. I will continue to try to keep the hysteria and Trump addiction and related blah blah out of here as best I can. I hope your holidays are treating you like a magic wand. ** Right. I thought asking you to spend your local Xmas Eve with Luchino Visconti was a nice idea for some reason. And, yes, Xmas de damned, I will see you tomorrow.

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