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The Most Beautiful Boy in the World review – devastating exposé of showbiz abuse
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Whatever happened to the world s most beautiful boy ?
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Angelic ⦠Björn Andrésen with Dirk Bogarde in Death in Venice. Photograph: Allstar/Warner Bros
Angelic ⦠Björn Andrésen with Dirk Bogarde in Death in Venice. Photograph: Allstar/Warner Bros
Thu 15 Jul 2021 01.00 EDT
Last modified on Thu 15 Jul 2021 11.47 EDT
Björn Andrésen was just 15 when he walked straight into the lionâs den, being cast as Tadzio, the sailor-suited object of desire in Luchino Viscontiâs film Death in Venice. Its release in 1971 made him not merely a star but an instant icon â the embodiment of pristine youthful beauty. Sitting alone in Stockholm today at the age of 66, he looks more like Gandalf with his white beard and his gaunt face framed by shoulder-length white locks. His eyes twinkle as alluringly as ever but heâs no pussycat. Asked what he would say to Visconti if he were here now, he doesnât pause. âFuck off,â he says.
Photo: DAVID DEVLIN/NETFLIX © 2021
It’s finally May. The sun is shining, flowers are blooming, and the full brunt of the Summer movie season is primed to descend upon us like a mighty avalanche of cinema. There are a ton of new films premiering exclusively in theaters this month, including this weekend’s
Wrath of Man (which
won’t be on demand), as the country continues to vaccinate and multiplexes reopen with varying safety standards. Still, there are plenty of great new movies premiering via streaming and day-one premiere services, too.
This week, there’s
Monster, based on Walter Dean Myers’ 1999 novel of the same name, premieres on Netflix, plus Gia Coppola’s online celebrity drama
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Fragments of existence build the absurdist tableaux of esteemed Swedish director Roy Andersson. Each stand-alone vignette in his features over the last two decades evolved from impressions that kindled an emotion within him. Their origin varies. Some reconceptualize scenarios he’s witnessed, while others take cues from fine art.
Via their incisive slant, Andersson winks at the tragedy of mankind, the cruel and preposterous causes for our anguish, the fleeting moments of joy, the evil we do unto others, the relationships we procure, and our inescapable mortality. Inside his impeccably composed static frames our humanity is irreverently scrutinized.
Andersson’s 2014 film “A Pigeon Sat on a Branch Reflecting on Existence,” which won the Golden Lion (top prize) from the Venice Film Festival, completed his critically revered trilogy on living that included 2000’s “Songs From the Second Floor” and 2007’s “You, the Living.”
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