The Damned (1969)
“He was soon to become the second most powerful man in Nazi Germany.”
In the early days of Nazi Germany, a powerful noble family must adjust to life under the new dictatorship regime.
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by Luchino Visconti, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Dirk Bogarde, Ingrid Thulin, Helmut Griem, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
Dirk Bogarde
as Frederick Bruckmann
Ingrid Thulin
as Sophie Von Essenbeck
Helmut Griem
as Aschenbach
Helmut Berger
as Martin Von Essenbeck
Renaud Verley
as Günther Von Essenbeck
Umberto Orsini
as Herbert Thallman
Reinhard Kolldehoff
as Konstantin von Essenbeck
Albrecht Schoenhals
as Baron Joachim Von Essenbeck
Florinda Bolkan
as Olga
Nora Ricci
as Governess
Charlotte Rampling
as Elisabeth Thallman
Irina Wanka
as Lisa KellerCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 158 min |
Pure cinematic metadata encyclopedia with zero hosted video. Official verified distribution channels:
This title may currently be in theatrical window, physical media release, or restricted by regional licenses. Switch to another territory:
Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.
