最近情不，得一些美少年、哥抒一下！
位三十多年前美少年的扮演者居然比007詹姆斯德的皮斯布洛斯南小二！在店有他照的小以他作古很久。
http://www.youtube.com/watch?v=4kpJehOi2p4
其去年我就了DVD，定要什，也部我自己有期！在IMDB站部影，有人了址，我自己著翻但有些句子我很理解就略了
http://www.guardian.co.uk/women/story/0%2C3604%2C1063735%2C00.html 我被利用了
比安德森----魂威尼斯中的美少年秋，告特西成葛利新的封面何感到怒
Thursday October 16, 2003
The Guardian
比安德森只看葛利新的封面，就非常不高！真正的理由是安德森葛利的新不是典型合史用的情色照了。
1970年，15的比安德森出由斯康堤演，改自德大文豪斯曼的小魂威尼斯中的秋。一夜之，安德森成了名人，逸般的美且又金的他成了由狄嘉演古斯塔夫森巴赫的致命美的象徵，但不止他一人！
葛利在她中：男孩失成女性注焦！
但自他出在斯康堤的影，安德森感受到男性女性的注。使用他的影像在“男孩”只不是非善意的因素，他：我得被利用到近乎到！
他主意有一半自道德感，他解他斯德哥摩的家：“我有些成人少年之是反的，“也情感上，也或是知上，我被搞混了---因我意到那是什！”
他所“那”的始於1970年坎城影展影，斯康堤的影首次成了大。“我只有16，斯康堤跟我去一同性夜店，乎所有人都是同性。店的侍者我感到非常不自在，他盯著我的子好像餐桌上可口的菜”他回道。
“我知道我不能反，那可能造成人上的隔，但那是多次偶遇中的第一次！”
安德森截他不是恐同性-----“我花太多被做是那一群”----但“世上最美男孩”的牢牢固定在身上，不管到那地方。管如此，他的崇拜者也不全都是男人。魂威尼斯成功之後，他被祖母服去日本，因此片在地大座。因她是第一申到成日本瑞典片的宣-----“她得我如此有才能全世界都知道，”他苦地回：“她然望成真！”在那，他了首流行歌曲，也部告片。正安德森在日本演出，他自己被女孩包：“你如果看到披四在美的照片？就像那！那真是狂！”
安德森的真是音，高中之後，他申就音院，通。他自己瑞典最有名的音家在家自修。日本回後，他曾有野心去一似艾公爵那爵士。可是他他很取其他角色的力！他花了一年在巴黎等待坎李的影“可的信人”，果拍成。“我我的事一字，”他：“混！”
他搬到哥本哈根一年跟女友在一起，同也了匿名。但他演的秋像鬼魅般持著他。“最糟的是人要注意我的企心，你真正的想是什？而是你只要表你的美，就！”
“我得在朋友家的宴第一次的音演出，知名的作曲家卡艾瑞克威“他回，“人鼓掌到最後，那什，”但一位穿套的女士向前跟我：“哇，你真的演奏！“
作永的美男孩不是什好事，反而是咒。“我好比子的奇特物！”也因成名太早，扭曲了他日後的展。“即使到今天，我都不得如何情。你只要根手指…..成名人失多社交。”
那不很奇怪？他自己很合女性主一渴望的象徵？
“那是刺的！”他回道。他花了大半成年光只了形，成人群中的一。他曾想改外貌？
“不只是我的外表，也包括我的身份！”48的他15的他在外表上己有差距，：“年大的女性似乎仍得出我，管我努力地名氏。”
今天，他到自己做的一些工作，希望由他的，SVEN-ERICS，自60年代起不同容，能下去。在80年代初期，他女友孕，安德森在院找到一份工作，管理斯德哥摩一家小院，做所有工作演、光甚至是洗碗。可能是他一生中最意的光：“你可以想像能拒影的感多好。”小孩死亡婚，他最近重拾表演工作，管限制在舞台表演(田西威廉斯的本)。令他吃的是，他自己很喜----感是自己的。“我必跟天作，正如其他人，”他”，感真的很好”。
有他仍看到海或院告上的秋影像，曾令他感到情激，不再有了。“我的事最初曾在端然後快速下滑，”他：“那感很寂寞！”
但葛利的“男孩”仍激起他的怒，：“她跟出版商先我！”
“是的。但如果他真的做你答封面？”
“然不！”
英文原文
“I feel used”
Bjorn Andresen - the beautiful Tadzio from Death in Venice, tells Matt Seaton why he is furious about being on the cover of Germaine Greer’s new book
Thursday October 16, 2003
The Guardian
Bjorn Andresen has only seen the cover of Germaine Greer’s new book, but he is not very happy about it. The reason is that Andresen is - or rather, was - the boy whose image adorns the front cover of The Boy, Greer’s characteristically feisty combination of art history and coffee-table erotica.
In 1970, the 15-year-old Andresen played Tadzio in Death in Venice, Luchino Visconti’s adaptation of a Thomas Mann story. Overnight, Andresen became a celebrity, adored as the ethereally beautiful, blond-locked boy who becomes a fatal object of desire for Gustav von Aschenbach, played by Dirk Bogarde. But not just for him.
”The boy is the missing term in the discussions of the possibility of a female gaze,” remarks Greer in her book. But ever since his appearance in Visconti’s film Andresen has felt the scrutiny of both male and female gazes. The use of his image on The Boy is just one more unwelcome instance, he says: ”I have a feeling of being utilised that is close to distasteful.”
His objection is partly moral, he explains, talking from his home in Stockholm. ”Adult love for adolescents is something that I am against in principle,” he says. ”Emotionally perhaps, and intellectually, I am disturbed by it - because I have some insight into what this kind of love is about.”
His experience of ”this kind of love” began at the Cannes film festival in 1970, where Visconti’s film first became a sensation. ”I was just 16,” Andresen relates, ”and Visconti and the team took me to a gay nightclub. Almost all the crew were gay. The waiters at the club made me feel very uncomfortable. They looked at me uncompromisingly as if I was a nice meaty dish.
”I knew I couldn’t react,” he says. ”It would have been social suicide. But it wasthe first of many such encounters.”
Andresen is adamant that he is not in the least homophobic - ”I spend too much time with gay people to be” - but the tag of ”most beautiful boy in the world” dogged him wherever he went. Not that his admirers were all men, by any means. On the back of his success with Death in Venice, Andresen was persuaded by his grandmother to go to Japan, where the film had been a big hit. It was she who had first applied to an advert in Sweden for film parts for children - ”She felt I was so talented and should be world famous, you know how it is,” he says drily. She certainly got her wish: in the space of a few weeks, he recorded two pop songs and appeared in several commercials. When Andresen performed in Japan, he found himself mobbed by girls: ”You’ve seen the pictures of the Beatles in America? It was like that. There was a hysteria about it.”
Andresen’s true love was music. After school, he applied to study at music college, but didn’t get in. Instead, he took piano lessons privately with one of Sweden’s most highly regarded teachers. His ambition, after his return from Japan, was to start a Duke Ellington-style big band. But he found himself under pressure to take other film parts. He spent a year in Paris waiting for Malcolm Leigh to start shooting a film called How Lovely Are the Messengers, which was then never made. ”I can summarise my career in one word,” he says. ”Chaos.”
He moved to Copenhagen for a year, to be with a girlfriend, but also in an attempt to find some anonymity. But his role as Tadzio continued to haunt him. ”The worst thing of all,” he says, ”is that no one pays attention to your ambitions, your dreams or who you really are.” He was merely expected to be beautiful, that was all.
”I remember playing the first movement from Liszt’s E flat major concerto for a party at a friend’s house - a well-known Swedish composer, Karl-Erik Welin,” he recalls. ”People applauded at the end; it was no big deal. But then this young woman in a suit came forward and said, ’Wow! You can actually do something!’”
Being immortalised as a beautiful boy was not a blessing, but a curse. ”I felt like an exotic animal in a cage,” he says. And because it happened so early in his life, it distorted all his experience for years afterwards. ”Even today,” he says, ”I don’t know how to flirt. When you have only to snap your fingers... there’s a lot of social training you miss out on as a celebrity.”
Isn’t it strange, then, that he should find himself just now appropriated as an object of desire by a famous feminist? Wasn’t part of feminism’s original protest against precisely such ”objectification”?
”It is ironic, yes,” Andresen remarks. He has spent most of his adult life seeking to be invisible, just one of the crowd. Has he ever been tempted to alter his appearance?
”Not only my appearance, but my whole identity,” he says, with feeling. Finally, now, at the age of 48, he bears sufficiently small resemblance to the 15-year-old version of himself. ”Kind, elderly women still seem to recognise me, but I’ve been working hard to reach anonymity.”
Today, he describes himself as being between jobs, but hopes that the band he plays keyboards for, Sven-Erics, which has been around in different line-ups since the 60s, still has life in it. In the early 80s, after his girlfriend became pregnant, Andresen finally went to theatre college, which led to a job running a small theatre in Stockholm, doing everything from directing, to lighting and dishwashing. It was perhaps the most satisfying period of his life: ”You can imagine how good it felt to turn down film work.”
Since then Andresen has survived the death of one of his children in infancy, and ”the inevitable divorce”. He has even resumed his acting career recently, though strictly only on the stage (in a Tennessee Williams play). Almost to his surprise, he found he loved it - because it felt like his choice. ”I have to fight these days, just like anyone else,” he says, ”which actually feels quite all right.”
Sometimes he still sees his image as Tadzio in a poster or in a cinema flyer; it used to cause him irritation, but not any more. ”My career is one of the few that started at the absolute top and then worked its way down,” he says. ”That was lonely.”
But as for Greer’s The Boy, the issue still rankles. ”She, or the publisher, might have asked me beforehand,” he observes.
Yes, but if they had, would he have given his permission?
”Of course not. Not until hell freezes over.”
封面照他本人很不爽！因是裸上身的。之後的遭遇我的！但如果不是他，怎能服何那大作曲家被一美少年迷住？病死也不有瘟疫的威尼斯？
法文版DVD有收年角的情形，可台版有。有友偶在看提到所有者中他的相最突出。原本演康堤持要找十一、二男孩扮演秋，果因15的比安德森相貌出，演就便修改中年。
初我店偶翻好年出版社的翻文小，魂威尼斯，封面就是有位美少年引起我的好奇心。如果不是有附好，我根本不花我蓄的零用下本中文翻再加容枯燥的。我很耐性看文字述，年有提到困症了以前的症，在之前的雯，也是看的候多，篇字又小的，我不知花了多久才看完？更提斯曼的短篇加上出版社了硬了中篇推理小後於在聊看完。看完翻的中文文意我莫名其妙的魂威尼斯，我想要看影；
主要是管道(影出租店人)
有精神上男男的主八成新局一定禁演(居然被梁良列入百大禁片?)
有小的很，影有可能得我神太，不那我才中。
果我了，片中不的昧眼神交我聚精神看到完，因(人)太美了！再加上年已，一些挫折心，很多感都不一了。
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