The Leopard - Criterion Collection
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Movie Reviews of The Leopard - Criterion Collection
Movie Review: An ennobling experience.
Summary: 5 Stars
"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 Cardinalle 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, this film 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.
Movie Review: A sublime work of art
Summary: 5 Stars
Poignant, beautiful, and majestic. A towering work of art. Alas, I have to admit it loses something on the small screen. But this edition also includes a documentary with fascinating interviews done in 2003 with many of those who worked on the film. And the music by Nino Rota is, as usual with Rota, gorgeous and evocative. Poetic, powerful Visconti at his best. A must-see.
(One can hardly imagine a more perfect adaptation of the brilliant novel, so if you haven't read that first -- well, no matter; you'll still love the movie.)
Movie Review: A glorious cinematographic feat!
Summary: 5 Stars
The visual magnificence and inimitable narrative style of Visconti finds in this superb drama placed in Sicily a must see. This was the final consecration to Burt Lancaster who as Anthony Quinn in La Strada captivated and engaged, not only the European viewers, but the rest of the world.
A refulgent masterpiece that enhances with genuine splendor through the years.
Movie Review: Visconti's "Il Gattopardo": Merchant and Ivory, eat your hearts out.
Summary: 5 Stars
I've known and loved the Prince of Lampedusa's novel of Sicily during the Risorgimento since it appeared in English translation in 1960. I was dubious when I heard that Luchino Visconti was making a film, staring the American actor, Burt Lancaster, as the ageing aristocrat of the title, and I gave it a pass when was released to the theatres. It wasn't until the late 1970s that I caught up with the film, on television, in the truncated form of the original North American release, and I was bowled over. To have it now, in a lovingly presented DVD, in the full original version is a rare treat.
What's so impressive about the film? In a word, everything, starting with the cast. Visconti, who insisted on Lancaster's participation, knew what he was doing. After you've seen the film it is impossible to conceive of anyone else playing the Prince, a man wedded to the near-feudal world in which he grew up, trying to come to terms honourably with the bourgeois reality of the newly united Italy of the 1860s. He's a real actor, not just a movie star. Alain Delon, as the Prince's young nephew out for the main chance, and Claudia Cardinale as the beautiful daughter of one of the "new men" in the Prince's village whom the nephew marries, probably never did better work (and Cardinale, like the film itself, is gorgeous!) There's a wonderful supporting cast as well.
Visually, this must be one of the most beautiful movies ever made, a series of set-pieces of family gatherings, battles and balls. It moves at the novel's pace, which is to say, slowly. It's a long film, and one to be savoured. Those whose standards for historical drama come from the Merchant-Ivory films should see how a master does it. Merchant and Ivory, eat your hearts out!
Unless you can't stand subtitles, watch the Italian version; but this wonderful package comes with the American English language release on another DVD as well.
Movie Review: a lost epic
Summary: 5 Stars
Criterion has done it again, restoring a long-forgotten, long-forsaken masterpiece to a new generation of viewers. Scissored up by Hollywood for its brief 1963 release in the US, Criterion has restored the full picture and provided the usual restoration of sound and image. What emerges is visually gorgeous: the Sicilian countryside and interiors; the epic battle scenes of the Risorgimento; the opulent ballroom sequence that fills the last hour of the film. It is not Burt Lancaster's voice in the Italian-language version, but he is definitely speaking Italian, judging by his lip movements, and this is one of his most brilliant roles. His sensitivity, his regal bearing, his world-weariness and sense of outliving his time is very real even through another language (and another voice). Makes me wonder how he might have played Don Vito Corleone, given the gravitas he brings to this role. Questo e magnifico qui.
And a lot of Lampedusa's nuances have gotten into the film: we see in the Prince's bleak marriage what the young lovers will go through after their wedding night is over and the long years pass. We also have a suggestion that some things have not changed: the bourgeoisie has replaced the Leopard's nobility, but will occupy the same gorgeous, empty rooms and go through the same motions and little will change in the end. The Leopard's passing will be a relief for him.
A must-have for cinema buffs, esp. those interested in film history. The extras are useful and (for the harder-stomached film historians) the original US release on Disc 3 is a good counterweight.