TonHis documentary tells us how the most beautiful boy in the world became the saddest man. His life was harmed by the exploitative abuse that the film industry accidentally distributed to all the beautiful girls in the world, and no one cared or produced anything about them. Documentary.
In 1970, Björn Andrésen was a shy, intelligent and musically gifted 15-year-old boy. He came from Stockholm and lived with his ambitious and entertaining grandmother. He participated in the audition. Bjorn attracted the attention of Italian director Luchino Visconti, casting his film version of Thomas Mann’s novelette “Death in Venice” (Death in Venice) , And looking for a boy to play the charming young Tadzio (Tadzio), who made Dirk Bogarde (Dirk Bogarde) in Venice Lido (Venice Lido) played the old composer fascinated. Visconti to Ann Dresen was excited about the unaffected charm and breathtaking beauty. He made this boy a star, but had no interest in caring for this vulnerable child or protecting him from cynical and predatory followers who played an important role in destroying Andresen’s young adulthood and contributed to This tragedy and the heartbreak of his personal life.
The most beautiful boy in the world showed Andresen, now in his 60s, with a Gandalf-style beard and long gray hair, making him look 20 years old. Visconti performed very badly in this documentary: the audition film in 1970 showed that he cunningly told Andresen to take off his clothes, and—unforgivably—Visconti was in Andre. The Cannes press conference in front of Sen made a rude joke, saying that his young star had lost his looks. If Visconti was like Lord Henry Wootton in Wilde’s writing, he had a good look at Dorian Gray It would be great to be enthusiastic and excited about it. Instead, Visconti seemed to shrug his shoulders and move on to the next thing that plunged Andresen into a chaotic afterlife, recording pop songs in Japan (where he became a star), making a few movies, and moving on from suspicious The “producers” accept pocket money there. .
This is a very unfortunate story, told sympathetically by filmmakers Christina Lindstrom and Christian Petri. As mentioned above, I would love to hear a feminist analysis of how Andresen’s pain is visible in a way that young female stars don’t usually suffer, and to hear from his ex-wife Susanna Roman and even the filmmaker. Opinion Roy Andersson was actually the first director to cast a role in the Swedish Love Story (1970). Inevitably, this documentary shows the young image of the elderly Andresen on the island of Lido, looking thoughtfully at the movie. Maybe this will bring him some end and peace.
