Il gattopardo (1963)

User Rating:

8.0/10   

Director:

Luchino Visconti

Writers:

Giuseppe Tomasi Di Lampedusa (novel)
Suso Cecchi d'Amico (screenplay) ...

Release Date:

15 July 1963 (USA)

Genre:

Drama | History | Romance | War

Tagline:

Luchino Visconti's Enduring Romantic Adventure

Plot:

The Prince of Salina, a noble aristocrat of impeccable integrity, tries to preserve his family and class amid the tumultuous social upheavals of 1860's Sicily.

Plot Keywords:

Prince | 1860s | Noble | Sicily | Aristocracy

Awards:

Nominated for Oscar. Another 7 wins & 1 nomination

Cast

Burt Lancaster	...	Prince Don Fabrizio Salina
Claudia Cardinale	...	Angelica Sedara / Bertiana
Alain Delon	...	Tancredi Falconeri
Paolo Stoppa	...	Don Calogero Sedara
Rina Morelli	...	Princess Maria Stella Salina
Romolo Valli	...	Father Pirrone
Terence Hill	...	Count Cavriaghi (as Mario Girotti)
Pierre Clémenti	...	Francesco Paolo
Lucilla Morlacchi	...	Concetta
Giuliano Gemma	...	Garibaldi's General
Ida Galli	...	Carolina
Ottavia Piccolo	...	Caterina
Carlo Valenzano	...	Paolo
Brook Fuller	...	Little Prince
Anna Maria Bottini	...	Mademoiselle Dombreuil, the Governess

Also Known As:

The Leopard (UK) (USA)
Le guépard (France)
Der Leopard (Austria) (West Germany) [de]
El gatopardo (Argentina) (Spain) [es]
O Leopardo (Brazil) (Portugal) [pt]
A párduc (Hungary) [hu]
De tijgerkat (Netherlands) [nl]
Het luipaard (Netherlands) [nl]
I leopardalis tis Sikelias (Greece) [el]
Lampart (Poland) [pl]
Leoparden (Sweden) [sv]
Leoparden (Denmark) [da]
O gatopardos (Greece) (reissue title) [el]
Tiikerikissa (Finland) [fi]

Runtime:

187 min | Spain:151 min (cut version) | UK:161 min (cut version) | USA:165 min (cut version) | France:195 min (Cannes Film Festival) | 205 min (premiere version) | West Germany:161 min (cut version)

Country:

Italy | France

Language:

Italian | Latin

Color:

Color (Technicolor)

Aspect Ratio:

2.20 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Germany:12 | Portugal:M/12 | Australia:M (TV rating) | West Germany:12 (f) | Norway:12 (re-rating) (1985) | Norway:16 (original rating) | Argentina:13 | Australia:PG | Finland:K-12 | Netherlands:12 | Sweden:11 | UK:PG (video rating) | UK:U (original rating) | USA:PG (certificate #20553) | Hong Kong:IIB

Filming Locations:

Ariccia, Rome, Lazio, Italy

Company:

Titanus

Trivia:

Horst Buchholz turned down the role of Tancredi.

Goofs:

Miscellaneous: During one of the long shots of the journey to Donnafugata, a blur crosses the screen near the center, apparently caused by a fly crawling over the lens.

Quotes:

Prince Don Fabrizio Salina: Things will have to change in order that they remain the same.

Movie Connections:

Referenced in "Monty Python's Flying Circus: The Money Programme (#3.3)" (1972)

Soundtrack:

Quadriglia

An ennobling experience.

"The Leopard" is not only one of the most accomplished films of the twentieth century, but one of the most successful adaptations of a novel to the screen. Rarely has a scenarist so effectively translated the essence of a novel without compromising the source material.

This is not to say that anyone should approach the film before the Lambedusa novel. Indeed, this film might well be considered as a companion to the book--the two being almost interdependent.

Still, the depth, richness, and complexity that Mr. Visconti achieves here justifies a lengthy treatise in and of itself. Equally important is a familiarity with the social background of the story, a piece of history destined to be lost on not a few Americans. Nonetheless, the viewer is encouraged to familiarize himself with the life, writings and allocutions of Pope Pius IX, (particularly his "Syllabus of Errors"), the campaigns of Garibaldi and Mazzini, and the criminal theft of the temporal dominion of the Papacy, effected by a variety of Socialist and Masonic cabals.

But back to Mr. Visconti's film: enough good things cannot be said of it. Often, great visual films are compared to paintings and certainly the comparison is most apt here. Each frame seems to breathe a life of its own.

One is simply staggered by the beauty of the compositions--each scenic tableaux not only intelligently employs the width of the Cinemascope screen to artistic advantage, but even manages, (as in the case, again, of a great painting) to visually probe the novel's subtext.

The casting could not be improved upon. If on paper, Burt Lancaster, seems an odd choice, (what with his Curriculum Vitae brimming with gangsters, cowboys, athletes, and acrobats) he, nonetheless fully realizes both Lambedusa and Visconti's vision, creating a man with the intelligence to see not only his own life ebbing away, but recognizing that the order he embodies, and represents is also simultaneously collapsing.

In short, Mr. Lancaster's character personifies nothing short of a tragic loss--the collapse of the noble/aristocratic and chivalric European world order, and, with it, the complex value system, and interdependent mode of decorous deportment that the value system supported, (welcome to the Welfare State, "progressivist" social engineering, and the enshrinement of the declasse.)

Though her character is tainted with arriviste origins, Claudia Cardinale enchants in her interpretation of Angelica. Note the way Mr. Visconti stages her entrance in one of the film's most memorable sequences. As the family gathers in the salon prior to a small dinner party, an anticipatory rustle signals Angelica's arrival. Framed over and through an oil lamp and spray of daisies, and underscored by a recapitulation of Nino Rota's main theme, she glides through the salon, a vision in cream taffeta, elaborate chignon, and a rose at her bosom, plainly enrapturing and even intimidating the entire party. The pitch and sincerity of her voice and diction as she greets the Prince is a marvel of growing self possession.

Miss Cardinale's beauty is of a rare order, and Alain Delon is nearly her match, with a gallantry and swagger that perfectly encapsulate Tancredi. Supporting roles from the Jesuit to Angelica's father are flawless both in type and execution.

The ball sequence defies comment. It is truly one of those things, for which the phrase, "must be seen to be believed" may be applied. The viewer can almost touch the watered silk swagged drapes, feel the swish of embroidered gowns, taste the flavored ices and blanc manges, and smell the liquored air, a waft with the heady mixture of verbena and attar of roses.

When, at the scene's near close, we behold an depleted elderly woman in green silk fanning herself in the far right side of the frame whilst some brave young things continue their exhausted dance, we seem to be viewing a Tissot come to life.

And Nino Rota must be complimented on his majestic score, the main theme of which is of heart breaking beauty and tenderness.

Ironically, "The Leopard" will scarcely find populist appeal in a country for whom MacDonalds, Wallmart, and Oprah appear to provide all that is needed or wished for. No, it is not intended to be accessible to every Tom, Dick or Harry. This would surprise neither Prince Lambedusa or Mr. Visconti.

But for those who know better--savor it! "The Leopard" seeps into one's pores like a drug, after which it demands to be seen again and again.