The film is especially notable for its romantic musical score, composed by Stelvio Cipriani. In the movie's musical score there is also an Adagio, erroneously attributed to the Baroque Venetian composer Benedetto Marcello (31 July or 1 August 1686 – 24 July 1739). In reality, the author of the D concerto for oboe and orchestra was his older brother Alessandro (1 February 1673 – 19 June 1747). In 1970, Frida Boccara recorded the song "Venise Va Mourir", the main theme of the film (French version, lyrics by Eddy Marnay), later performing it at the Cannes Film Festival. Tony Renis recorded it as "Anonimo veneziano" (English and Italian versions, 1970) and "Venise Va Mourir" (1971, French version). Singers Sergio Denis (1971), Fred Bongusto (1971), Ornella Vanoni (1971), and Nana Mouskouri (as "To Be the One You Love", 1973), also performed the piece. Enrico asked Valeria to come to Venice for mysteryour reasons which he seems reluctant to divulge and while they walk and talk, they have the time to reminisce about their happy past in the city. Unfortunately, their conversation has nothing of the fluidity of movies such "Before sunrise". Enrico seems mean spirited and Valeria mostly angry. Brunetti’s investigation uncovers a world of corruption, where powerful men are using male prostitutes as decoys in the scam involving illegal property rentals in Venice. I am continuing to enjoy the Brunetti series, especially for the Venice atmosphere created by writer Donna Leon, who lived in the city for 30 years until retiring recently to a small village in Switzerland. Dressed for Death finds Brunetti investigating the murder of a man found dressed as a woman. The clues seem to lead to the transvestite community, but Brunetti begins to suspect that there is something else behind the initial obfuscation.

Through Salerno's camera, Tony Musante portrays, via his character, the filth and mud he says Venice is made of, a city that sank in the water a very long time before; he admits, by way of his actions and words, to have become part of that squalid scene. Anonimo Veneziano (English: The Anonymous Venetian) is a 1970 Italian drama film written and directed by the famous Italian actor Enrico Maria Salerno in his debut as a film director. [1] It starred American actor Tony Musante and Brazilian actress Florinda Bolkan. It's like a short story by Chekhov comprising a universe of feelings and drama in a moment's brief revelation of the worst problems and complexities of human existence. Still relatively young and attractive, Valeria and Enrico look more like brother and sister, with the same square jaws, abundant dark hair and cold stare, but they're actually married. In fact, they split up seven years previously but divorce was not legal in Italy until 1974, therefore they are still married, although Valeria lives with another man.The August heat has driven many residents out of Venice and nearby mainland cities for vacations in cooler climes, so just as Commissario Guido Brunetti is about to take his family to the mountains, he is asked by the police in Mestre to take charge of a murder case; their own detectives are mostly away on leave. So Brunetti stays behind as his family go to the mountains. As the investigation proceeds, the body count mounts and Brunetti must once again wrestle with the corrupt bureaucracy of Italy where powerful people are able to buy the police and ensure the outcomes that they desire from government offices. Hmm...that does hit a bit too close to home. Valeria, notwithstanding her "so-called" new life, shows her devotion to Enrico throughout the entire movie, accepting his behavior, knowing what that really means, knowing that he was acting out of pain, sorrow and FEAR. After all. at one point in the movie, as he angrily throws his briefcase up in the air after disclosing his doom to Valeria, Enrico does say "All of this is happening and I should not be scared?".

A dying man encounter in a dying city with the woman he loves. Could it be something more romantic and sadder? Both actors are great. I have never seen any of these actors before nor ever heard of the director. It's one of those unique masterpieces that appear suddenly in a flash of dazzling brightness - to never be repeated. Actor Karl Fischer as Sergente Lorenzo Vianello and actor Joachim Król as Commissario Guido Brunetti enjoying a tea break in Venice, Italy in a film still from the German television adaptation of "Dressed for Death" (2000). Image sourced from IMDB. In this case the musician has a terminal disease, however life in its immense sarcasm and cruelty, reminds him , and the love of his life, how small and stupid as a species we are. And how , so many small mistakes lead to desperation and sadness. After she learns of his disease, she decides to delay her departure and leave town on the 9:30 p.m. express instead of the 6:15 local. That is hardly a universe-shattering emotional decision, but it will have to do. The movie is dubbed so badly into English that only the broadest melodramatic strokes survive the dialog. At one point, the man's entire response to the woman's outpouring of regret is, "Edifying!"When the pasta was done, he poured it through a colander, tossed it into a serving bowl, then poured the sauce on top of it. With a large spoon, he swirled it round, then went out on to the terrace, where he had already taken a fork, a glass and a bottle of Cabernet. He ate from the bowl. Their terrace was so high that the only people close enough to see what he was doing would have to be in the bell tower of the church of San Polo. He ate all the pasta, wiping the remaining sauce up with a piece of bread, then took the bowl inside and came out with a plate of freshly washed figs. If we could have recorded every minute when we fell in love , every gesture, every smile and every Kiss, then maybe we wouldnt have to remind ourselves why we fell so deeply in love. It's rather dated in that AIDS is held to an entity definition, treatment that has rather changed in connotations. But the traipsing for inquiry is hardly different than on other cases. Just in that Guido meets many males in the sex trades here.

Strangely enough, Visconti's masterpiece "Death in Venice" was made almost simultaneously, both appeared in 1970, but this small gem totally outshines the more pretentious Visconti classic. A must for couples that want to rescue their love. And a warning for the rest of mortals so they dont fall down into the well of total and inconsolable desperation.

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their way to Florence (that cramped warren of traffic jams) in the middle of July. Not surprisingly, they find the city crowded and the canals pungent. You can't expect a city of 250,000 inhabitants to Paola is her usual "know it all" critique expert on the subject of gays and also makes a tuna sauce that sounds intriguing. As this book opens, Brunetti is looking forward to escaping the steamy summer of Venice with his family; his plans are put on hold when the body of a badly beaten man is discovered in an industrial wasteland, frequented by prostitutes and their clients. I really like the characters of Brunetti and his family. This is the third book in the series and the third one I have read and I find my affection for the characters growing with each installment. Enrico, a Venetian musician and composer, is seen, as the story begins, awaiting for Valeria, his estranged wife at the railway station. He buys red roses to greet her with, but thinks twice about them and throws them away before her train arrives. When they meet, Valeria asks him why has he summoned her to Venice, a city where they met, were happy, got married, had a son, and was the scene of their acrimonious split. He advises her that in due time he will tell her.