Ludwig [Region B]

From what I've seen of reviews of Ludwig, people either seem to love it or hate it. Personally I love the slow pace, it really fits with the overall decadence and sumptuousness of the film. The performances are fantastic and the use of real life locations makes it look really authentic. But enough about the film.This happens to be the third release of this film that I own. I have an English subtitled Italian DVD release from the UK and a non English subtitled German Arthaus release. I only watched the Italian DVD once because it was annoyingly letterboxed and also I did not like the Italian dubbing. The German release, although the audio was lower quality and it was not subtitled, had much better picture quality and used at least some of the same actors in the dub (though not Helmut Berger - the interview with him on this release explains that he was busy with another project at the time and was not available to dub the film).By comparison with these two releases, the picture quality is better on this Blu-ray. I didn't notice any significant steps up in terms of colours from the Arthaus release, which was already a good restoration. It is also fantastic to get the original English audio for about 2/3 of the runtime, but obviously very disappointing that it is not available for the full duration of the film. The accompanying booklet is upfront about this, though does not explain what happened to the rest of the original audio, since almost all the actors are speaking English throughout. I can only assume it was lost after the film was cut down to the shorter running time.The main downside is the Italian audio used to "fill in the gaps", as other reviewers have mentioned. I would love to have a release using the German dub instead, even though the audio quality is not quite as good as the Italian audio. The other thing that gets quite jarring is the use of different musical score in some parts of the English audio, particularly in scenes towards the beginning of the film which flip between English and Italian audio. Although this is probably the best release we're going to get, my wishlist (if the rest of the English audio is truly lost) would be a release where the English audio was intercut with German audio, and the rescored parts were replaced.On a final note, the packing for this film is quite bulky. There are 2 standard size (14 mm spine) clear Blu-ray cases both holding a Blu-ray and a DVD disc each, and a detailed booklet with making of information and critical response that is about 3 mm thick. This is housed in a study cardboard slipcase. Just FYI if you were expecting a single Blu-ray case holding 4 discs.

Maybe my fault but I was expecting English audio after reading the review. I was also expecting to see more of the locations where Ludwig lived and the film was shot. Having recently returned from Bavaria and visited 3 of Ludwig's palaces I was disappointed. If I didn't already know the main story I would have been completely lost just from watching the film. The picture on the screen would not expand to full screen on my TV. As a gift and thank you to my partner the film was a sad disappointment. Best read the review thoroughly and make sure you buy the same version as discussed in the review. Now that I can compare the cover with the on-line picture I can see its not the same (the picture on the cover is the same but the wording is different.

Visconti's fabulous film sounds a strange note that puts it beyond all the clichés of costume drama. Ostensibly telling of the life of Ludwig II of Bavaria, it carries a great deal of weight in terms of the artistic and intellectual life of Germany in the later 19th century, which is felt to underpin events while also being held somewhat apart from them. There is a chamber-like quality to the way it is filmed, even the opening coronation containing a lot of close-ups and zooms that take us into the heart of the opulence. The effect is quite cosseted, and gives a sense of intimacy. This ties in both with the focus on the King's emotions, which were impossible to live out on all fronts, and the illumination of the human heart and soul that Wagner's music represents. Ludwig falls (ambiguously) for his cousin, Elizabeth of Austria, who is already married, but flirts with him. Her robustness and spirit contrast with his ineffectual leanings, emphasising his psychological fragility. Their scenes together are delightful and elusive, not least because of Romy Schneider's beauty - another aspect of fabulousness in the film. When she tries to visit him later in the film, going from one opulent castle to another in black and observing the extravagance with bemused benevolence, the effect of her veiled face and supreme grace combine with the ever-present Wagnerian strains to create a total magic, coming as it does when the sense of doom is already writ large.Beauty is everywhere in this film, in effect - in Ludwig's haunted face in Helmut Berger's superb portrayal, in John Moulder-Brown's amazing allure as the King's younger brother, Otto, who goes mad, the actor Kainz whom the King falls for, and a number of other male servants whom he becomes infatuated with. Visconti presents these movements of the heart discreetly but in a way that points to the King's impasse and increasing isolation. Wagner is also a vital presence, of course (another remarkable performance - and physical likeness - from Trevor Howard), but one who becomes increasingly filtered through the way Ludwig hears the music. In the end there is a long scene where his music is played over and over on a music box, tinkly and prettified, as if the King's soul has been reduced to hearing it as a travesty of what it really is. However the music is constantly taken out of context, at least partially. We never hear a single sung note, the Tristan chord is frequently played on the piano, and the orchestral score sounded to me as though occasional changes were made. This is certainly the case with Schumann's Kinderszenen, heard near the beginning, which is constantly subject to minor distortions. Perhaps this is intended to mirror the subjectivity of Ludwig? At all events, it reflects the distortion of seeing lips move in English while hearing the dialogue in Italian. Normally this doesn't work, but here the distancing is oddly effective, relating to a certain clumsiness in the length of some of the scenes, yet drawing you in and holding your attention. It really is a riveting film that leaves you wanting to go back into its close-up look at one man's decline, with its enormous political resonances. In fact the style - both intimate and opaque - almost reminds me of the closeness to her subjects achieved by the photographer Nan Goldin, even if by quite different means: many roads lead to Rome, after all.

Visconti’s movies are a treat to film lovers. ‘Ludwig’ is 3 hours of pure beauty. The mad king of Bavaria’s controversial life, his obsession with castles and the music of Wagner, have fascinated generations. Visconti turned it into an unforgettable film.

having not seen the film before I found it interesting, beautiful to look at but at time rather indulgent! Acting wise the cast was exceptional and the pieces of Wagner played were well done, but towards the end I did find it hard to concentrate.

the best film of visconti helmut berger is superb

The film is wonderful, both visually and performances.

No niih!