Il gattopardo (1963) Reviews

• A Prince among films

  DrMMGilchrist2004-06-21

  I had longed to see this film for years, having only seen b/w stills and brief clips. Finally, Glasgow Film Theatre got a new print in their Visconti retrospective in 2003, and it was certainly worth the wait! 'Il Gattopardo' is a marvellous film, a magnificently realised slice of 19C history presented through the lives of engaging but humanly fallible characters. Don Fabrizio, Prince of Salina, is a shrewd, benevolent man of 45, trying to navigate a passage for his family through the social and political turmoil of the Risorgimento in Sicily. (I was stunned that some reviewers thought there was too much discussion of politics in the film - it is essential to the story and its context!) Burt Lancaster gives surely his greatest performance as Don Fabrizio, coming to terms with the fact that he is among the last of a dying breed: born too late to dwell in an unchanging aristocratic world, but too early to adapt fully to the modern world, unlike his nephew Tancredi Falconeri (Alain Delon). As he tells the royal envoy from the mainland: "We are the leopards, the lions; after us will come the jackals and hyenas". Tancredi embodies the best and worst of the rising generation: he is dashing and full of vitality, but he breaks the heart of his shy, sensitive cousin Concetta (Lucilla Morlacchi), and is just as fickle in his political loyalties - although this ensures he will survive in the new Italy. His engagement to Angelica Sedara (Claudia Cardinale), daughter of the nouveau-riche mayor, secures the family's future. Angelica is a fine example of how well the characters are drawn: no idealised romantic heroine, but a vital, beautiful girl with a vulgar streak. She laughs interminably and loudly at Tancredi's coarse jokes at the table - not how a 19C young lady was expected to behave: you sense the cringes this induces in the rest of the family, despite the fact she is 'a good catch' in material terms, and is basically good. The other supporting characters are worth attention, delineated with affectionate humour: Angelica's social-climbing father; Princess Maria Stella (Rina Morelli), with her glum piety and fits of the vapours (one can easily believe her husband's quip, "We have seven children, but I've never even seen her navel!"); the family chaplain, Father Pirrone (Romolo Valli), with whom Don Fabrizio has amusing bouts of verbal sparring. But it is as much the look of this film, besides the intelligent script and excellent characterisations, which makes it so special. The costumes are among the best I have ever seen in a 19C-set film. The landscape and architecture of Sicily are shown to tremendous effect: you can feel the heat, the dust. Dust? Yes - and that is one of the best things about the film: its physical realism. When the characters go on long carriage journeys, they get visibly dusty; their palaces have shabby, disused rooms and semi-derelict wings, as well as majolica floors; the all-night ball - a tour-de-force of colour and spectacle - results in a retiring-room full of used chamber-pots; the rural villages are as dilapidated as picturesque. Too many costume dramas present perpetually well-groomed characters in immaculate environments, no dirt or untidiness: 'Il Gattopardo' does not. The film ends with Don Fabrizio walking home after the ball, having come to terms with his mortality and seen the younger generation preparing to take centre stage. If you want to meet him again in his final years, and see what becomes of Concetta and Angelica as the 20C dawns, then read Giuseppe Tomasi di Lampedusa's original novel, of which this exquisite film is a faithful and sensitive adaptation. And to see the characters now? About the same time I first saw this film, I got a picture-book of the mummies of Palermo: fragile parchment-skin and bone in fraying 18-19C finery. The same sense of the transience of beauty, of change and mortality, pervades the mummies and the film alike: one auburn-haired youth even resembles Francesco Paolo, the Salinas' young son. "Dust and ashes!" writes Browning; "Mais où sont les neiges d'antan?" says Villon. But thanks to Visconti's masterpiece, we can still see 'the snows of last year' at the point of their dissolution.

• A extraordinary masterpiece: see the UNCUT version.

  coop-162000-02-01

  If you ever have the chance to see this magnificent film in an uncut, fully restored version, with good subtitles...DO IT. This is a film of astonishing beauty, bristling with ideas and magnificent performances.Like all truly great films it is full of sublime SCENES: Prince Tancredi riding off to war in his carriage., the astonishing ball sequence, when Prince Salina gazes at the painting and comes to grips with his own mortality,and the unforgettable end, when Salina kneels on the ground and speaks to the stars.Coppola, Cimino, and Scorsese all saw this film and learned from it..the Godfather echoes it repeatedly( in fact all THREE Godfathers echo it repeatedly). Scorsese once ranked it with The Red Shoes, Citizen Kane, Otto e Mezzo and The Searchers as one of the films he "lives by." Seeing it, one understands.

• Visconti's best film and the Greatest Italian Film of All Time...

  artihcus0222009-03-10

  Luchino Visconti was the last scion of the Visconti di Modrone family, one of the oldest and richest families in Italy. He was also a lifelong member of the Communist party, whose first major masterpiece, LA TERRA TREMA is one of the harshest and most compassionate films about the lives of Sicilian fishermen, which was furthermore shot in the Sicilian dialect and released in Northern Italy with the appropriate subtitles. Andre Bazin noted that the fishermen of that film seemed imbued with the nobility of Renaissance Princes. As an artist, Visconti was like his greatest character, Prince Fabrizio, "straddling two worlds and not comfortable in either." "The Leopard" is set in the period of the Risorgimento, the Re-Unification of Italy. It was in this period that a group of principalities and isolated city-states grouped together to form a single nation, the Modern Italy more or less as it exists today. The film is however set in Sicily, the small island situated below the toes of the Giant Boot of Italy. A small island that in centuries was invaded and conquered by foreign nations and rulers and never had a say in the running of it's land. The promise of "being a free state in a free country", articulated by the Chevalley(Leslie French), is for the Sicilians, too late or not enough, when they are charitable or merely the latest in a long line of outsider powers ruling the small region of golden fields and beautiful mountains that is uncaring of the problems of the people or the Salina family. In the middle of this turmoil is Don Fabrizio Corbera, the Prince of Salina. A fictional aristocrat modeled in part on the grandfather of Giuseppe Tomasi di Lampedusa. As incarnated by Burt Lancaster, Salina is a man of great presence and intelligence, he claims he is 45 but realizes at once that he is already very old when he learns that his daughter Conchetta is in love with his nephew Tancredi Falconeri(Alain Delon). He realizes that his daughter is no match for the ambitious and handsome nephew and that all his family has left is a name and fading splendor but no money at all. However Anjelica Sedara(Claudia Cardinale) is a Goddess and her father is as rich and upwardly mobile as he is crass and vulgar. IL GATTOPARDO is a film that deals with the birth of the Middle Class. 19th Century Europe witnesses the slow disintegration of the aristocratic families and the arrival of the middle-class mercantile consumerist faction in it's wake. The film more importantly shows this process, gradually and symbolically but also precisely rendering the machinations in detail. Dozens of films can recreate history by simply play-acting an event, it's another thing to show it as a process. This is one of the great achievements of Visconti. The middle-class, the bourgeoisie will take power but it can do so step by step. First it supports a peasant-led popular revolution only to compromise it, then it accepts democracy only to sabotage it, and then through marriage establishing itself as the chief ruling class of a nation giving the old Leopards a shiny new cage in a stately zoo, in effect allowing the aristocracy to survive as the walking dead. Released in 1963, Visconti's film must have felt a little incongruous. A big international production on a scale not seen since the commercial disaster of Ophuls' LOLA MONTES, an adaptation of a respected literary source and starring popular international stars - Lancaster, Delon, Cardinale. This was the period of the French New Wave of Modern Italian cinema as embodied in Antonioni and Fellini(Cardinale in fact went back and forth between this film and 8 1/2, essentially in two separate solar systems). Yet Visconti's film could not be conceivable any other way. A film about the dying aristocracy, this film is also about the classical tradition embodied in that culture which is slowly disappearing and which Visconti, despite being a progressive, was a product of. So THE LEOPARD is also self-reflexive about it's own style and mode of storytelling, yet the ending of the film is also vastly more different and more richer than that of the novel that it takes as a source. The novel written by a cynical aristocrat dilettante is a work of great emotions the chief being nostalgia for the old ways. This nostalgia is tossed out by Visconti, alongside its shameless misogyny. In the transaction the characters are richer and deeper than their literary forebears. Visconti put his entire heart and soul into THE LEOPARD. You will never see widescreen and colour used as powerfully in all of cinema as it is used in this film. Light, colour, camera movement and the movement of the actors is choreographed in a single whole, the framing has a depth of field that is unparalleled in film history, comparable only to the works of Welles, Ophuls and Mizoguchi. This is a true spectacle - rich and grand, yet personal and intimate.

• Portrait of powerful yet reflective man, who doesn't abuse his power

  Peegee-32000-09-13

  This beautiful film, which I saw some time ago, remains in my memory as a profound study of a man in a position of power who thinks, reflects on important values, as well as his own aging process...and yet the film is never static. Burt Lancaster gave a brilliant performance...which I read was his favorite role. Visually, it is stunning. The long dance scene with Claudia Cardinale is justifiably famous...one of the sexiest scenes on film, in my opinion. To anyone interested in serious concerns, cinematically expressed with grace and intelligence, I would urge you to see this splendid film.

• a film that just gets better with age, yours and its own!

  humewood2004-07-18

  I was rounding off a two year study in France in 1963 and I remember gazing at the marquee of a cinema in Paris shortly after the Cannes Festival, seeing "Le Guepard" advertised, beautiful Claudia Cardinale waltzing with handsome, courtly, Burt Lancaster. At the time, I made a mental note to see the movie but in fact, saw it for the first time many years later, on a black and white TV no less! Chopped up and edited as it was, in black and white, the film moved me immensely. I was absolutely thunderstruck by the dialogue which, when I read the Prince of Lampedusa's novel shortly after, I realized had been "lifted" verbatim from the novel in large chunks. What a novel and what a worthy and noble tribute to it Visconti has paid. I now own the Criterion three disk set of Il Gattopardo and never tire of watching what is for me, one of the great films of the twentieth century. Burt Lancaster, as the Prince of Salina, was an inspired choice for the cinematic role, though apparently he was not Luchino Visconti's choice. I think the Prince of Salina is Lancaster's finest performance.