The Most Beautiful Boy in the World [Världens vackraste pojke] *** (2021, Björn Andrésen) – Movie Review

Luchino Visconti filming Death in Venice in 1971 with Sergio Garfagnoli and Björn Andrésen.

Writer-directors Kristina Lindström and Kristian Petri’s 2021 fascinating but multi-troubling documentary film The Most Beautiful Boy in the World follows the story of Björn Andrésen, who was picked at 15 for stardom by Luchino Visconti for his 1971 film Death in Venice. Visconti consigned Andrésen to iconic posterity as his Most Beautiful Boy in the World in his much admired classic film, and unwittingly but conveniently provided the title of the documentary after a remark at the London world premiere of Death in Venice, unusually attended by the Queen.

The documentary film moves back and forward between old clips of 50 years ago with the teenage Most Beautiful Boy in the World and new footage of the 60something old man (born 1955), scarily wrecked by his demons, alcohol and smoking, now long white haired, bearded, lined and gaunt. The directors have given themselves a simple mission on their hands: to show how the shy and sensitive boy was unprepared for becoming an instant international celebrity, how he was not properly cared for by various adults, and how his entire ensuing life has been damaged by it, living in its shadow. To be clear, there are no accusations of abuse, just of casual or careless, vague neglect of care or duty.

But, there’s much more to the story than that, and unfortunately, Andrésen was always going to have a troubled life. He has endured more than enough tragic experiences for any one lifetime, including his childhood death of his mother, an unknown father, his misguided Granny who was supposed to be looking after him but preferred that he become famous, and more recently a failed marriage, and the death of his son Elvin, who died of sudden infant death syndrome at nine months, leading Andrésen into a long, agonising depression and isolation.

This led him to live in a filthy apartment and face eviction, a fate his girlfriend Jessica helps him to avoid, as the documentary shows. Why are there cameras here at this key moment in Andrésen’s life? Why are they there when he seeks and gains troubling documentary evidence about the death of his mother? Why is Andrésen encouraged to go back to Venice and wander on the beach? It’s all very worrying, and of course so sad and depressing. But was this Granny’s or Visconti’s fault? Wholly or partly? They are not around to defend themselves.

Luchino Visconti directs Björn Andrésen in Death in Venice.

The documentary feels as intrusive and manipulative as anything the directors suggest Granny or Visconti may have done. It takes you on a well-planned ride from the highs of Venice to the lows of Stockholm. And it even provides its own hopeful ending: love from the caring girlfriend and his daughter, love that might heal the old wounds, at least partly.

There’s an unfortunate and uncomfortable whiff of an anti-gay thing in the documentary, as gay director Visconti is portrayed in an arrogant, uncaring light over his protégé, and Andrésen recounts his discomfort at being forced by Visconti to visit a gay bar, where he attracted the attention of older men, while later he spends a year in Paris, being paid for by older men. Andrésen emphatically denies that he was gay.

Nevertheless, intrusive, gossipy and partly misguided though the film is, and skimpy with facts as it is (virtually no mention of Andrésen’s acting career, no mention of how a near recluse could consent to the documentary’s filming), it is absolutely fascinating, really riveting, just as Lindström and Petri must have hoped. They have done their research and hard work well, finding a plethora of material, clips, photos and old documents. Best of all, Andrésen certainly remains totally sympathetic, if not entirely understandable or completely revealed, and your heart goes out to him, and you wish him peace with his demons.

It premiered at Sundance Film Festival on 29 January 2021 and was released in the UK on 30 July 2021.

© Derek Winnert 2021 Movie Review

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