Why so much hype?

A lot more amusing than I thought it would be.

The film makes a home in your brain and the only cure is to see it again.

An old-fashioned movie made with new-fashioned finesse.

"I would like to remain an enigma; to myself and to others", is one of the most memorable (and cryptic) remarks of Ludwig II, the last king of Bavaria. Whether intentional or not, director Visconti seems to have honored the wish of the tragic monarch. Rather than analyzing the person Ludwig, Visconti focuses almost entirely on Ludwig being a neurotic being, alienated from the real world, living in his own fantasy-land of music and mythology, a classic closet-gay, whose entire existence is overruled by his suppressed sexuality.Arguably there has been much more to the historic Ludwig, which was a very complex human. However, this doesn't make "Ludwig" a bad movie.The movie is carried by Helmut Berger who proved with "Ludwig" that is wasn't only a mere pretty face and the toy of homosexual filmmakers, but that he could actually act formidably (and it's rather sad that his carrier declined rather steep after "Ludwig", coming to a point where he only haunted the tabloids with drunken antics, today a mere wreck and definition of a shadow). Equally strong are actors Trevor Howard as the manipulative Richard Wagner and Romy Schneider, who played Sissy, empress of Austria, for the fourth time and finally got to play the character as a real human-being, far off the schmaltzy persona of the Ernst Marischka trilogy.Further points go to the exquisite cinematography and having filmed on the authentic locations ("Ludwig" was among the last films that was permitted to be filmed in Ludwig's castles, which remain among the most visited tourist-attractions in Bavaria, perhaps with the exception of the "Oktoberfest"). Though Visconti obviously has an eye for the aesthetic beauties of the locations, he manages to build up an almost claustrophobic atmosphere which underlines that Ludwig, despite the splendor and grandeur, essentially built himself a golden cage.On the downside are the other supporting actors, which were apparently all chosen on their physical merits, not acting ability. Yes, we all knew that Lucino Visconti was prone to handsome males, but seeing this parade of handsome youths, one almost gets the idea that Visconti cast this crew in his hotel room.In short: "Ludwig" is often overlong, a tad too colorful and occasionally even boring, but it captures the essence of the time. If you're into overlong, colorful epics that can fill an evening, "Ludwig" is highly recommendable.A word of warning and a recommendation: After watching "Ludwig", I'd avoid the 1993 movie "Ludwig 1881", which again stars Helmut Berger in the title role. While generally not a bad film, it pains to see the almost 50-year old Berger reprising his role as (supposedly) youthful king. On the other hand, if one wishes to delve further into the story of King Ludwig, I can only recommend Hans-Juergen Syberbergs 1972 film "Th. Hierneis oder: wie man ehem. Hofkoch wird". It has likewise been filmed on location and despite being a one-man-show of Walter Sedelmayr as Ludwigs former kitchen-aid-cum-master-cook, it does offer many insights into the psyche of the "Fairy-Tale-King" Ludwig.I'd give it a dashing 8/10

From the start of the film when Ludwig, the newly crowned King of Bavaria, is shown in his youth, it's made clear by the narration that he will go mad and eventually be interned for his own safety. From the start this circumstance hangs melancholically over the film.Romy Schneider made a career out of playing unobtainable women, but here, as Elisabeth/Sissi, Empress of Austria, she may as well be ensconced in a quartz grotto at the top of the Himalayas, surrounded by precipice and acres of stone for all the chance Ludwig has of winning her. Perhaps that is how Ludwig imagines her when he sleeps at night. Sissi hates to be taken for granted, she avoids family get-togethers and official engagements, and makes her presence always a cherished unannounced surprise. She speaks loosely of sexual encounters with her grooms whilst encouraging a certain intimacy yet always maintains a distance from serious discourse or lovemaking. She is the worst nightmare of every man. Ludwig is stretched out on tenterhooks. The introductory scene is my favourite, Sissi playing dressage in a circus ring, delighting in the control of her horse, her face lost amongst pastel lights, a part of her life that encapsulates the whole of her life.Ludwig's relations, or lack of relations with women during the film is crushingly sad. It seems finally a bewilderment with them that leads him into the arms of beings he can understand - men. Stricken and alone, finally he even refuses to meet Sissi, for once come not to tease, and it made my heart break.With a government content to do without him, Ludwig withdraws into a fantasia of his own, rejecting materialism, seeking to live beyond bestial factuality, to transcend via the golden barque of the arts. Alongside several architectural commissions, he also became a stream of golden coins, flowing into the coffers of Richard Wagner, who he set up in a house of unbelievable opulence, and provided finance to for the building of the great opera house at Bayreuth, and the staging of several operas. The scenes with Wagner become almost a film within a film, although Ludwig appears the more extraordinary, if only via an accident of birth.I was au fait with both the idea and the execution of Italian dialogue in the mouths of Germans, however I was uneasy going into this movie that it would feel Italian. Luckily Visconti does manage to keep an authentic feel, though one notable lapse for me is Count von Holnstein, who the credits confirmed to me was played by an Italian, Umberto Orsini. Holnstein is the minister who was largely responsible for orchestrating the downfall of Ludwig. In this movie Orsini's manner of speaking, his delivery and facial expressions are quintessentially Italian, even his lines have all the pomposity and false sincerity that Italian officialdom can muster. Only a quibble in a film that I felt like I was living.Quite an astounding experience.

After "Death Of Venice" , this is the second Time I have Encountered Visconti, again its Self- obsessed protagonist captured me. I need more background information about Ludwig II, the mad king of Bavaria. But as far as this film, it solidify Visconti's status of a unique director, a master of gilded resplendence. The film has extravagant settings which could easily amaze everyone in spite of different backgrounds. I have to say only Visconti has this privilege as he has "blue blood" running inside his veins. Ludwig is a proud black swan, noble and pure, maybe reflects the image of Visconti himself. His tragedy is that he is not suitable to be a king, he pursues art more than politics, and his homosexuality does offend some people. At his position his demise is destined and nothing he could do to avoid it, it's so cruel to see how he suffers all the way, the ultimate death is the best way to save his dignity as a human being. The film is almost 4 hours, I have to watch it separately, which helps a lot to digest it. And Helmut Berger is so vulnerable and convincing in his role as Ludwig, plus at that time he was also Visconti's muse. I wonder how come he hasn't become more famous as he unfurls a unisex fascination from this film even could defeat Alain Delon at his peak youth. Watching Visconti's film is a totally different experience from watching Antonioni's. They both excel over each other in their own ways, by far I still can not figure out I like whose films more, need to see more films from both of them.

The color of solitude. The taste of freedom. The fear. "Ludwig" is a new tale about Hamlet. A new story about power and an age of dreams and limits of ash. About madness and the rules of real life. About life like trip or form of search. Ludwig of Wittelsbach is not present in this movie. In fact, like others films, "Ludwig" is a Visconti's self-portrait. Same crisis and same answer, same cycle of hypocrisy and same morgue. Ludwig is a victim but not of his era, error or illness. He is the victim of desire, like every romantic hero or existentialistic character. The action is the shadow of Visconti-Berger relation, and form of self-recognition. The tall of a fall and a disillusion's map. A contour of any game and a sacrifice without value.