Art films used to cross over into the mainstream more than they do now, though it still happens (just look at the success of “Parasite”). But even back in the heyday of art-house earthq…
,” his 1971 film of Thomas Mann’s novel, and for a time Andrésen blew up like a pop star. “Death in Venice” was a grand, slow-moving, and, to me, always rather stilted and awkward piece of lavish-souled literary adaptation. On the page, Mann had evoked the romantic and sensual obsession that his ailing autobiographical hero felt, from afar, for Tadzio, an adolescent he spies at the hotel he’s convalescing at on the Lido.
“The Most Beautiful Boy in the World” is a documentary about the imagistic stardom he attained — and also about the man he is now, who is so different that you almost can’t fuse the two together in your mind. Made by the Swedish co-directors Kristina Lindström and Kristian Petri, it’s a small, impressionistic, oddly heartfelt movie about beauty, stardom, adoration, exploitation, and loss. Oh, is it ever about loss.
For those who find “Death in Venice” a film of enduring fascination , “The Most Beautiful Boy in the World” opens with a fulsome account, full of arresting archival footage, of how that film got made, and what it was like for Andrésen when it went out into the world. We see his impromptu screen test at a 1970 casting call in Stockholm that looks like a season opener of “American Idol”: dozens — hundreds — of boys, some disturbingly young, all showing up to audition for the great Visconti.
On March 1, 1971, “Death in Venice” had its world premiere in London, in the presence of the Queen and Princess Anne. That night, Visconti declared Andrésen to be “the most beautiful boy in the world,” and the label stuck. As the documentary presents it, the real circus began at the Cannes Film Festival. We see plenty of footage of that, and you feel the swirl of eroticized excitement merging with the imprimatur of art.
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