VISCONTI & LA COLOMBAIA - A CHANCE ENCOUNTER THAT BLOSSOMED INTO A LOVE AFFAIR
VISCONTI & LA COLOMBAIA - A CHANCE ENCOUNTER THAT BLOSSOMED INTO A LOVE AFFAIR
The story of Luchino Visconti's time in Ischia and his love for his beautiful home at La Colombaia.
With Ischia once again the centre of attention as the movie world lands on its doorstep with two film festivals in quick succession in July, Ischia Review has decided to pay homage and to enlighten the English-speaking world to the talents and life of one of its most celebrated former residents.
Despite its status as a small island just off the coast of Naples in Italy, Ischia has a remarkably important place in the world of cinema. Not only has Ischia been the backdrop or main subject of around 30 different movies, the scene of two annual film festivals and the creative hub of legendary producer Angelo Rizzoli, but it was also the summer residence of one Luchino Visconti.
Although the name Visconti has never reached household status in the English-speaking world, the director/screenwriter was a much-loved and revered figure in the world of Italian cinema with his pioneering work in the field of neo-realism in which to many, he was the original and most expert exponent.
Nominated for academy awards and a regular winner at the Cannes and Venice film festivals, Visconti’s work was well-decorated and highly regarded but this was not a man in search of fame and notoriety. Well educated and born into a family with noble ties, Visconti was one of 7 children raised in Milan after his birth in 1906. His early experience and fascination with the upper-classes is in evidence in much of his work but perhaps most notably in his representation of Lampedusa’s novel “Il Gattopardo” about the fall of the Italian aristocracy at the time of the Risorgimento.
As a young man Visconti travelled extensively, but like many before and after him, his chance encounter with the island of Ischia was to transform his life. In 1946 Visconti decided to spend some time in Ischia with some friends having been intrigued upon hearing about this beautiful island that was said to have curative powers in its thermal water. What started as a short holiday became a long-lasting love affair as the wanderer stumbled upon the paradise that he’d been searching for without knowing it.
In the days when Visconti first arrived in Ischia, there was very little in the way of commerce or industry on the island, and it was partly for these reasons that he became so charmed with the place and the laid-back nature of its people despite their troubles. With fishing and agriculture the main sources of income, the islanders relied heavily on ancient traditions while a lack of modern facilities such as electricity was a problem they overcame with their cheerful disposition and strong work-ethic.
Having made the decision that Ischia would become his summer residence away from the hurly-burly of Milan or Rome, Visconti set about finding the perfect location for a home. As soon as the successful director saw the beautiful villa at La Colombaia he became smitten and decided that it had to be his. However, the villa was not for sale and the owner, Barone Fassini was reluctant to sell. This small problem only served to intensify the single-minded Visconti’s resolve and his persuasive powers overcame the will of Fassini who eventually relented to his iron will.
It was this single-mindedness and strength of character that underlined the work of Visconti as his ability to manipulate his cast and crew saw his visions and ideas borne into fruition. So precise was he in every detail about his film-making, that even a plea by one of his crew to have a different-sounding train-whistle on one of his movies was met with a fierce rebuke and instruction to carry-out his original wishes to the letter.
This determination and talent for getting the best out of those he worked with was all the more remarkable when understanding the calibre of cast that Visconti worked with. Legends of the screen were quickly assessed and brought into line to ensure they were able to perform in exactly the way in which he had envisaged. Big egos and characters such as Burt Lancaster fell under his spell as can be seen in his performances in The Leopard (“Il Gattopardo”, 1963) and The Conversation Piece (1974).
Like many directors, Visconti had his favourites that he liked to work with regularly, Dirk Bogarde (Death in Venice, 1971 & The Damned, 1969), Marcello Mastroinanni (The Stranger ,1967 & White Nights, 1957) & Silvana Mangano (Ludwig , 1972, Death in Venice & The Conversation Piece) were among those, but there were two actors for which Visconti held a special affection. In a time where homosexuality was rarely spoken about and certainly not seen as an acceptable part of everyday life, Visconti was open about his sexual orientation. He was said to have held a platonic love affair with Alain Delon who worked with him on Rocco and his Brothers (1960) and The Leopard, while his relationship with the Austrian actor Helmut Berger (The Damned, The Conversation Piece and Ludwig) was one of the most dear and important of his life.
When Visconti first took possession of La Colombaia he decided to fill it with expensively selected antique furniture from London and Paris, in an attempt to recreate the art-nouveau style which he so admired at that time. The longer that Visconti stayed at the villa, the more he felt at home and began to seek refuge there. So enamoured was he with the local plantlife that he soon became a keen gardener, eager to cultivate the beautiful aromatic plants the he found grew so well on that part of the island such as roses and bella di notte.
That wasn’t to say that Visconti was a recluse, in fact he was a philanthropist and benefactor as evidenced by the way he purchased a new boat for a local fisherman who’d fallen on hard times. Neither was he anonymous on the local social scene – during the 1950’s Ischia underwent a steady transformation from sleepy fishing island to exotic film and holiday location, inspired partly by the film producer Angelo Rizzoli. During this era, places like Bar Maria in Forio were a hub for artists, intellectuals, writers, politicians and actors. Names such as Charlie Chaplin, Jackie Kennedy, Aristotle Onassis, W H Auden, Ava Gardner, Sofia Loren, Boris Karlov, Richard Burton and Liz Taylor frequented the area at this time as its renown and cache started to grow with the latter two of that list having conducted their very open and controversial public affair on the island during the filming of Cleopatra in 1962.
In particular, Visconti was close friends with such luminaries as Lawrence Olivier and Maria Callas who were guests of his at La Colombaia. The presence of Callas also points to Visconti’s love of music, and in particular, opera. Apart from his work as a film director, Visconti also enjoyed success with a career as a theatre and opera director with productions such as Anna Bolena and La Traviata playing at La Scala, the latter with Callas as the star of the show.
Visconti’s film directing career spanned 13 feature films over a period of more than 30 years from his debut in 1943 with the film "Obsession", culminating in his last movie in 1976, "The Innocent".
During the latter part of his life, Visconti suffered a series of health problems, with a stroke in 1972 seemingly the catalyst for further problems to come. It was during this time that Visconti’s indomitable spirit was most in evidence as he refused to acknowledge his weaknesses or let them slow him down. The proud and determined character fought his illnesses with dogmatic fervour to the point that he would hide his problems from the people closest to him.
However, around the time of Visconti’s last movie, he heart-breakingly had to curtail his summer seasons in Ischia as he became wheelchair-bound and despite installing a beautiful glass lift in La Colombaia, was unable to make the journey from his home in Rome where he eventually died in 1976 when suffering from another stroke.
At the time of his death, La Colombaia fell into the hands of various family members as his original will and testament could not be located. A series of family disputes then ensued which for years left the villa to rack and ruin at the mercy of nature.
It wasn’t until 1998 that more than twenty years of legal wrangles and dilapidation finally came to an end when the local government of Forio were able to buy the villa and restore it to its former glories. Although many of the original features such as the incredible glass elevator are sadly gone , the villa is now kept in pristine condition and is a jewel and sense of pride for the local community.
La Colombaia opens every summer to visitors who can now wander around the beautiful villa and sample a little bit of Visconti’s world when he was resident there. The beautiful white-washed clean lines of the villa that was originally modelled upon the style of a medieval French chateau, pay host to a myriad of fascinating photos that depict Visconti’s life and his work, particularly in the realm of film.
Outside the villa, the gardens that Visconti so passionately and expertly cared for are now the site of his ashes and a fitting final resting place for the man who brought so much life and intrigue to this small corner of Ischia.
To walk the rooms where he once lived, to gaze out on the views across the sea that he once enjoyed and to sit and think in his garden that holds an inexplicable mysticism is not just a pleasure, but also an honour that should not be missed for any visitor lucky enough to have had their own chance encounter with this special island.
Dion Protani
Ischia Review
Despite its status as a small island just off the coast of Naples in Italy, Ischia has a remarkably important place in the world of cinema. Not only has Ischia been the backdrop or main subject of around 30 different movies, the scene of two annual film festivals and the creative hub of legendary producer Angelo Rizzoli, but it was also the summer residence of one Luchino Visconti.
Although the name Visconti has never reached household status in the English-speaking world, the director/screenwriter was a much-loved and revered figure in the world of Italian cinema with his pioneering work in the field of neo-realism in which to many, he was the original and most expert exponent.
Nominated for academy awards and a regular winner at the Cannes and Venice film festivals, Visconti’s work was well-decorated and highly regarded but this was not a man in search of fame and notoriety. Well educated and born into a family with noble ties, Visconti was one of 7 children raised in Milan after his birth in 1906. His early experience and fascination with the upper-classes is in evidence in much of his work but perhaps most notably in his representation of Lampedusa’s novel “Il Gattopardo” about the fall of the Italian aristocracy at the time of the Risorgimento.
As a young man Visconti travelled extensively, but like many before and after him, his chance encounter with the island of Ischia was to transform his life. In 1946 Visconti decided to spend some time in Ischia with some friends having been intrigued upon hearing about this beautiful island that was said to have curative powers in its thermal water. What started as a short holiday became a long-lasting love affair as the wanderer stumbled upon the paradise that he’d been searching for without knowing it.
In the days when Visconti first arrived in Ischia, there was very little in the way of commerce or industry on the island, and it was partly for these reasons that he became so charmed with the place and the laid-back nature of its people despite their troubles. With fishing and agriculture the main sources of income, the islanders relied heavily on ancient traditions while a lack of modern facilities such as electricity was a problem they overcame with their cheerful disposition and strong work-ethic.
Having made the decision that Ischia would become his summer residence away from the hurly-burly of Milan or Rome, Visconti set about finding the perfect location for a home. As soon as the successful director saw the beautiful villa at La Colombaia he became smitten and decided that it had to be his. However, the villa was not for sale and the owner, Barone Fassini was reluctant to sell. This small problem only served to intensify the single-minded Visconti’s resolve and his persuasive powers overcame the will of Fassini who eventually relented to his iron will.
It was this single-mindedness and strength of character that underlined the work of Visconti as his ability to manipulate his cast and crew saw his visions and ideas borne into fruition. So precise was he in every detail about his film-making, that even a plea by one of his crew to have a different-sounding train-whistle on one of his movies was met with a fierce rebuke and instruction to carry-out his original wishes to the letter.
This determination and talent for getting the best out of those he worked with was all the more remarkable when understanding the calibre of cast that Visconti worked with. Legends of the screen were quickly assessed and brought into line to ensure they were able to perform in exactly the way in which he had envisaged. Big egos and characters such as Burt Lancaster fell under his spell as can be seen in his performances in The Leopard (“Il Gattopardo”, 1963) and The Conversation Piece (1974).
Like many directors, Visconti had his favourites that he liked to work with regularly, Dirk Bogarde (Death in Venice, 1971 & The Damned, 1969), Marcello Mastroinanni (The Stranger ,1967 & White Nights, 1957) & Silvana Mangano (Ludwig , 1972, Death in Venice & The Conversation Piece) were among those, but there were two actors for which Visconti held a special affection. In a time where homosexuality was rarely spoken about and certainly not seen as an acceptable part of everyday life, Visconti was open about his sexual orientation. He was said to have held a platonic love affair with Alain Delon who worked with him on Rocco and his Brothers (1960) and The Leopard, while his relationship with the Austrian actor Helmut Berger (The Damned, The Conversation Piece and Ludwig) was one of the most dear and important of his life.
When Visconti first took possession of La Colombaia he decided to fill it with expensively selected antique furniture from London and Paris, in an attempt to recreate the art-nouveau style which he so admired at that time. The longer that Visconti stayed at the villa, the more he felt at home and began to seek refuge there. So enamoured was he with the local plantlife that he soon became a keen gardener, eager to cultivate the beautiful aromatic plants the he found grew so well on that part of the island such as roses and bella di notte.
That wasn’t to say that Visconti was a recluse, in fact he was a philanthropist and benefactor as evidenced by the way he purchased a new boat for a local fisherman who’d fallen on hard times. Neither was he anonymous on the local social scene – during the 1950’s Ischia underwent a steady transformation from sleepy fishing island to exotic film and holiday location, inspired partly by the film producer Angelo Rizzoli. During this era, places like Bar Maria in Forio were a hub for artists, intellectuals, writers, politicians and actors. Names such as Charlie Chaplin, Jackie Kennedy, Aristotle Onassis, W H Auden, Ava Gardner, Sofia Loren, Boris Karlov, Richard Burton and Liz Taylor frequented the area at this time as its renown and cache started to grow with the latter two of that list having conducted their very open and controversial public affair on the island during the filming of Cleopatra in 1962.
In particular, Visconti was close friends with such luminaries as Lawrence Olivier and Maria Callas who were guests of his at La Colombaia. The presence of Callas also points to Visconti’s love of music, and in particular, opera. Apart from his work as a film director, Visconti also enjoyed success with a career as a theatre and opera director with productions such as Anna Bolena and La Traviata playing at La Scala, the latter with Callas as the star of the show.
Visconti’s film directing career spanned 13 feature films over a period of more than 30 years from his debut in 1943 with the film "Obsession", culminating in his last movie in 1976, "The Innocent".
During the latter part of his life, Visconti suffered a series of health problems, with a stroke in 1972 seemingly the catalyst for further problems to come. It was during this time that Visconti’s indomitable spirit was most in evidence as he refused to acknowledge his weaknesses or let them slow him down. The proud and determined character fought his illnesses with dogmatic fervour to the point that he would hide his problems from the people closest to him.
However, around the time of Visconti’s last movie, he heart-breakingly had to curtail his summer seasons in Ischia as he became wheelchair-bound and despite installing a beautiful glass lift in La Colombaia, was unable to make the journey from his home in Rome where he eventually died in 1976 when suffering from another stroke.
At the time of his death, La Colombaia fell into the hands of various family members as his original will and testament could not be located. A series of family disputes then ensued which for years left the villa to rack and ruin at the mercy of nature.
It wasn’t until 1998 that more than twenty years of legal wrangles and dilapidation finally came to an end when the local government of Forio were able to buy the villa and restore it to its former glories. Although many of the original features such as the incredible glass elevator are sadly gone , the villa is now kept in pristine condition and is a jewel and sense of pride for the local community.
La Colombaia opens every summer to visitors who can now wander around the beautiful villa and sample a little bit of Visconti’s world when he was resident there. The beautiful white-washed clean lines of the villa that was originally modelled upon the style of a medieval French chateau, pay host to a myriad of fascinating photos that depict Visconti’s life and his work, particularly in the realm of film.
Outside the villa, the gardens that Visconti so passionately and expertly cared for are now the site of his ashes and a fitting final resting place for the man who brought so much life and intrigue to this small corner of Ischia.
To walk the rooms where he once lived, to gaze out on the views across the sea that he once enjoyed and to sit and think in his garden that holds an inexplicable mysticism is not just a pleasure, but also an honour that should not be missed for any visitor lucky enough to have had their own chance encounter with this special island.
Dion Protani
Ischia Review
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