The Film (4/5)

In a tale of excess, madness, and abuse of power, LUDWIG (1973), tells the story of the infamous king of Bavaria. It tracks his crowning to his death, with many talking heads of the people around him describing his crippling madness and eccentric ways. Glamour and madness as only Visconti can deliver.

LUDWIG was a, pardon the pun, crowing moment in the career of Luchino Visconti. The film is a four-hour epic with production design of the highest order. The film was also a last great gasp of creative energy for him. During filming Visconti suffered from a stroke, which left the filmmaker in a tight spot for making grand and operatic films. His next film CONVERSATION PIECE (1974) would be a modest step down. It was also the last part of his German trilogy, the other two being THE DAMNED (1969) and DEATH IN VENICE (1971)

As a film, LUDWIG is a haunting and moody piece of work. The cinematography by Armando Nannuzzi is simply magical. Every shot is filled with detail and brooding shadows. The ball room scenes are film to perfection. The textures and clothes all shine. The Christmas and snowing scenes are some of the best in the film. The soundtrack by Franco Mannino also adds an air of mystery as Ludwig starts to head to madness. The only downside to the picture is the pacing is off. For a four-hour movie, the first part of the movie is top heavy. Once the story starts it’s smooth sailing, but the first 45 minutes is tedious to say the least.

Helmut Berger (BEAST WITH A GUN, BLOODSTAINED BUTTERFLY) gives a powerhouse performance as the mad king. Starting off subdued and slowly working himself up into a mad frenzy, Berger dominates the whole picture. The rest of the cast is rounded out with some fine performances. Gert Frobe (GOLDFINGER, 1000 EYES OF DR. MABUSE) is fantastic as Father Hoffman. Romy Schneider (Henri-Georges Clouzot’s INFERNO) does an impressive job as Elisabeth of Austria, a role she played before in the Sissi trilogy of films. Schneider adds a layer of soul to the film with her piercing eyes and stair.

Also, included on the disc is the 5-part TV version of the movie. Here the action is broken up like a mini-series. The drama is in bite size pieces, so if the 4 hour cut sounds too long, this TV version should do the trick.

Audio/Video (5/5)

The Italian LPCM 1.0 Channel track is vivid and near perfection. There’s no hiss or pops. The English track is also LPCM, but huge chunks of the film switch back to Italian because parts of the film were never dubbed into English. Easy to read subtitles are included.

The 1080p HD transfer is another treat for the eyes. The black levels are smooth and the vivid colors pop off the screen. One of the best-looking transfers of 2017 so far.

Extras (5/5)

Arrow has gone the extra mile with extras. Spread out over the two Blu-ray Discs (and DVDS) are a treasure chest of extras on the film and Visconti’s life. First up is a new interview with actor Helmut Berger. He discusses his many collaborations with Visconti and their romance. Luchino Visconti is an hour-long documentary on the director with interviews with Burt Lancaster, Vittorio Gassman, Francesco Rosi, Claudia Cardinale, and others. There’s an interview with Producer Dieter Geissler, An interview with screenwriter Susi Cecchi D’ Amico, A featurette on Silvana Mangano, and the original theatrical trailer. Rounding out the package is a 57- page booklet of liner notes and production stills. The highlight of the booklet is a series of film reviews from the film’s release in the states and aboard.

Overall (4.5/5)

Arrow Academy has given LUDWIG a masterclass release with some outstanding extras. The Film it’s self may be a little too long, but as a piece of high drama, it’s breathtaking to watch. If you’re a fan of Italian Cinema this release is essential. Highly Recommended.