![]() The concern over explicitness, of course, had everything to do with the charged subject matter-potentially incendiary in its time and discomfiting to this day. The movie divided critics upon its release, and many of its detractors invoked what is often deemed a cardinal sin of adaptation-namely, that Visconti’s film made explicit what Mann’s 1912 novella, one of the most celebrated, analyzed, and debated works of twentieth-century literature, had kept implicit. ![]() Cain, Fyodor Dostoyevsky, Albert Camus, Giuseppe Tomasi di Lampedusa-his 1971 version of Thomas Mann’s Death in Venice is perhaps the one that most fully showcases both the challenges and the possibilities of page-to-screen translation. Of the numerous literary adaptations that Luchino Visconti directed-based on works by James M. ![]()
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