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The wedding follows and Elisabeth steals the show with Sophie falling to the background. What happens later is a failed rendezvous with a prostitute and other failed attempts of Ludwig to behave like a heterosexual. His desires to be around Wagner vs. Sophie and the subsequent scene with the valet demonstrate more and more Ludwig increasing desire to seek the company of men. This leads then to a deteriorating condition in which a bandage is over his eyes. He is fooling around in a Bavarian inn implying he yet again gives in to his homosexual tendencies much like the SA revelry in the previous movie, The Damned. The film ends with the government planning to depose him much like what happened in reality and Professor von Gudden's last diagnosis of incurable paranoia. (Blunt 34)
In regards to theme and narrative structure, the film is what some say elliptical in narration. This means the sequences are not clearly defined nor are there any specific and significant points of narrative development. The film forms somewhat coherent sequences with actual scenes suggesting loosely connected scenes and an effort to keep the film from the trap of trivial psychologizing. The use of statements throughout the movie serve to tie the fact from the imagined together. It also puts the narrative into focus and it reminds "the audience of the political and social constraints that ultimately determine the king's fate. Thus the crucial theme of the film is actually built into its narrative structure." (Bacon 180).
As discussed in Italian Film, "the loss of capacity to discern the virtual from the real, which is connected to the pedagogical role of film. This pedagogy offers itself as an allegory...
He could not control his homosexual desires, he could not control the war, he could not control his finances, and he could not control his love life. He was and is a symbol of chaos that spawns from individuality and lack of conformity as seen through the eyes of Visconti. Although the historical context of such an era contributed to the ideas portrayed in his German themed trilogy, his own experiences in Italy and during the bombings shaped his view of the world and especially his view of the world through art.
In conclusion, Visconti was a great director and Ludwig was one of his works that truly showed his ability and his vision. His narrative style combined with his aesthetic makes Ludwig a masterpiece of cinema and melodrama.
References
Bacon, H. (1998). Visconti: explorations of beauty and decay. Cambridge: Cambridge University Press.
Blunt, W. (1970). The Dream King, Ludwig II of Bavaria. New York: Viking Press.
Cardullo, B. (2009). After neorealism: Italian filmmakers and their films: essays and interviews. Newcastle upon Tyne: Cambridge Scholars.
Landy, M. (2000). Italian film. Cambridge: Cambridge University Press.
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