Visconti’s Operatic Autopsy of German History Restored

Respected Italian director Luchino Visconti openly homosexual but devoutly Catholic, ostensibly Communist but unyieldingly aristocratic. In short, he embodied the contradictions that plague many of his films, where criticism can sometimes be mistaken for reverence or obsessive excess of detail. Nowhere is this more evident than in his pseudo-German trilogy, “The Damned” (1969), “Death in …