Nonureva Really Surprised!

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Raymond Sierra The film may be flawed, but its message is not.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

ElMaruecan82 "The Leopard", Golden Palm winner of 1963, might have the prestigious look and feel of a big-budget historical drama, confidently directed by veteran Luchino Visconti and sublimated by the melodies of Nino Rota... and yes, to some degree, it can be regarded as an Italian equivalent to "Gone With the Wind". But it's within the resignation not the determination of its main character that we find the soul of the film. Indeed, for a story supposed to be about historical upheavals and political turmoil, "The Leopard" is remarkably static and stoic. This owes a lot to the performance of Burt Lancaster as Don Fabrizio Corbera, Prince of Salina, he carries both the codified solemn authority of a man of his rank and the poignant vulnerability of a man at the nadir of his splendor, belonging to a chapter of Italy's history whose pages are soon to be turned. We're in 1860 when Garibaldi's troops are dethroning the then-ruling Bourbons in Sicily. Salina might be a leopard but an endangered species in that particular context. Yet "The Leopard" isn't much a character study, the film is adapted from Giuseppe Tomasi di Lampedusa's novel of the same name, centering on the decay of the old aristocratic system. And without reading the book, I guess it carries the same resonance in Italy as Margaret Mitchell's "Gone With the Wind". I suspect the book starts with magnificent descriptions of all the lavish vegetation that graces the landscape, the natural sprays that float over the warm sky of Sicily, among them the breeze of modernity coming from the continent. And I suspect the film while not absolutely flawless does justice to the novel. Yet what a bizarrely quiet journey, we're getting prepared to a downfall... that never occurs. The film is very much about the way Sicily was under the noble rulers before the Unification of Italy under the King but isn't much interested in the future. But it's easy to miss that we're witnessing one of the first glimpses of the Island's unique beauty before "The Godfather" would give the most vibrant homage. History and locations are constant markers of the film but trust our knowledge a little too much. "The Leopard" might be too difficult for most viewers and maybe a little introduction about the context wouldn't have hurt the film or at least, a few geographical notes. And despite some very well-choreographed battle scenes, war always seems distant, as contemplated from the passive perspective of the Salinas who just idly move from one palace to another, the heirs enjoying the bucolic lifestyle while the patriarch can exchange a few quips with his priest (Mario Girotti) and a few heated political gossips with his hunting companion (Serge Reggiani). The dialogues go from minimalist to passionate, superficial to subtle, but to those who don't pay much attention to politics, the highlight of these conversations is in the body language, the way they indirectly establish that the Prince still inspires respect and a servile attitude (sometimes the corniest) proving that nothing had changed as far as he's concenred. The best thing about Lancaster is that he plays a man talking about losing his power while always being powerful. So what we have is a film that works in two paces, it is history in motion and a cross-country travel yet strangely motionless, it's as puzzling and beautiful as one of these mechanically arranged ballroom waltzes. The Prince is one of these paradoxes the silver screen is enamored with, in one of his best scenes, he's asked by the priest to confess his sins but there are limits the Prince can't tolerate, like searing seven children from a woman without ever seeing her navel. The Prince is a man of life, love and passion and the fading of his aura just coincided with the Italy he knew, but having to endure his petite Devout catholic nagging and whining wife is one blow to his manhood he can't have. But the story would have been quite austere if it wasn't for the additions of two more high-spirted characters: Tancredi, played by the distractingly handsome Alain Delon and Anjelica, the daughter of an opportunistic mayor, played by the exquisite Claudia Cardinale. Tancredi is an ambitious go-getter who fights for either army depending on his interest but with such charisma it reveals the level of ambition so severely lacking in the Prince's progeny. The parallel between the two men isn't just highlighted by their relationship but the way they instantly feel the same lust toward the same woman... a gilded cage is something "The Leopard" can consent to... but losing his paws? Luchino Visconti was a descendant of this Sicilian nobility yet refused to play the titular part although everyone acknowledged his regal persona. Burt Lancaster was picked so the film could get the necessary banking from Hollywood and I thought he gave a presence to the film, he's charming, charismatic and can turn from intimidating to friendly in one simple grin, he's accessible like an old friend but sacred like an old relic we venerate out of habit. But he's also a pragmatic man who understands that all the prestige of the world can't do without money and even marriage can turn into financial bargain, the end justifying the means. Aren't we after all in the country that gave Machiavelli? All these torments pinnacle in the iconic ballroom sequence, which is as long as the wedding opening in "The Godfather" and culminates with the same inter-generational dance, but what a moment! By having a final waltz with the beautiful Anjelica, we see a rebirth for the Prince, a rejuvenating shoot before finally surrendering to the march of time, more ruthless and permanent than any conquest or invasion... but still using a party as an opportunity to tie bonds and take decisions (like "The Godfather") not much have changed for Sicilian traditions... and if it's any consolation, the Leopard was right!

elvircorhodzic THE LEOPARD is an epic drama about a dramatic political, economic and family turmoil on Sicily. It is based on Giuseppe Tomasi di Lampedusa's novel of the same name.Garibaldi's troops come on Sicily. Prince of Salina sees that event as an obvious threat to his current social status. However, his nephew takes an opportunistic attitude and becomes an officer in Garibaldi's army. He has returned home as a war hero. He begins a romance with the beautiful daughter of a newly appointed mayor of their city. Prince of Salina despises a new mayor as an upstart who made a fortune on land speculation during the recent social upheaval, but he supports an emotional relationship and engagement of his nephew. He, later, declines an offer from a governmental emissary to become a senator in the new Parliament in Turin. He, painfully, experiencing the downfall of the aristocracy and the birth of a new class - the bourgeoisie...This is a very emotional epic, which considering social turmoils, through a sad look of a man. A magnificent ambiance is very personal. The atmosphere is melancholic and nostalgic at the same time. The story is full of memories and sorrow, so smile and dance of young people become uncomfortable. A revolution is not marked with bloody conflicts. A slow pace fully corresponds with emotional crisis of the main protagonist.Mr. Visconti has showed us a harmonious luxury, which is limited with emotions, ambitions and desires. The surface is decorated, and the core is rotten. The changes are inevitable.The scenery and costume design is at the highest level. Characterization is also very good. The closing section, an almost hour-long ball is a spectacular sequence, which shows the culmination of social changes in a subtle way.Burt Lancaster as Don Fabrizio Corbera, Prince of Salina is a solid and imperious man who has frequent attacks of melancholy. His sharp patriarchal character is softened with sarcastic interruptions and moments of nostalgia. Mr. Lancaster has offered a convincing performance.Alain Delon as Tancredi Falconeri, Don Fabrizio's nephew is a charming and handsome young man, who does not have enough self-confidence to become the hero of this story. Claudia Cardinale as Angelica Sedara / Bertiana is, in addition to her beauty, a grotesque character. She is a strange combination between an indecent bourgeois girl and a serious young woman in love. Her uneven character is an embodiment of a social change.Further, clumsy, vulgar and shy characters fit perfectly into the atmosphere.Mr. Rota has offered a very rich and vivid soundtrack.

blanche-2 Luchino Visconti's film "The Leopard" from 1963 tells the story of forming a new Sicily.Burt Lancaster, in a beautiful performance, is Fabrizio Corbero, the Prince of Salina (the Leopard) and watches as a former peasant, Don Calogero Sedara, comes to social prominence. The prince's nephew, Tancredi (Alain Delon, better looking than the scenery) is a modern thinker and wants to go with the new Sicily. Fabrizio is behind him and knows he is going to be a political force. Tancredi, Prince of Falconeri, solidifies his position in the new regime by marrying Don Calogero's beautiful daughter Angelica (Claudia Cardinale). The big scene is the huge ball which lasts for 40 minutes at the end of the film.Gorgeous cinematography, lush locations, sumptuous costumes - no expense was spared for this film. Burt Lancaster is magnificent, delivering humorous lines ("Angelica is not a slut. She might become one, but right now..."/ on marriage: "Ah, yes, one year of flame and 30 years of ashes," and my favorite, "I've had 7 children with her and I've never seen her naval." Toward the end of the film, he gives a wonderful speech about leopards and lions and hyenas. This is followed by a scene of peasants, with the sounds of the party in the distance. The classes are going to mingle. Lancaster also says a prayer that is poignant and magnificently delivered. A very successful performance despite being dubbed in Italian.This is the kind of films most Americans find difficult. It has three characteristics that many European films have: It's long, it's slow, and it's multilayered. And for me, it was over the top without giving us a sense of the actual revolution. Even the battle scenes for some reason did not convey it -- everyone seemed outside of it, like a quiet overthrow. Visconti was trying to show the aimlessness of the rich by having them twirl and dance, but it was too much.Not enough happens to show us the political fight and a contrast between the new and old worlds.But it does capture the theme that this particular leopard, Fabrizio, cannot change his spots or refuses to, feeling too old, out of touch, and seeing himself become a relic. People past a certain age can connect with this. When my sister turned 65, she said, "It's not my world anymore." I said, "It hasn't been your world since you were 49." And it's tough to take.Tancredi, on the other hand, changes his spots more than once - he likes to be where the power is. But he's young, and he can go with the tide or be a relic starting at the age of 28. Some classic themes couched in a beautiful-looking film, the type of movie some people look at and, when it's over, say "what was that about?"

Robert J. Maxwell To make a long story (187 minutes) short, Burt Lancaster is the leopard of the title, a Sicilian aristocrat of 1860, who watches the world change around him. There was a revolution in Sicily in 1860, too, with the rebels led by Garibaldi trying to unite Italy at the expense of the local nobility like Lancaster. He's disturbed by it all. And why shouldn't he be? For God's sake, they want to substitute the Italian tricolor flag we're familiar with today -- green, white, and red -- for Lancaster's family flag -- white with a golden lily. That's HIS flag, man, and he doesn't want to see it replaced with some rag representing the hoi polloi. And on top of that, he's middle-aged and seems to be growing more obsolescent by the day.Visconti wanted an all-Italian cast and evidently made it clear to Lancaster that he didn't fit the role. An argument ensued, after which the two got along much better, or seemed to. This was an epic movie and a lot of money was at stake.It must be said that Lancaster is figure instead of ground. He stands out if only because of his bushy hair and impressive mutton chop whiskers. But it must also be said that it sounds queer to hear Italian coming from Burt Lancaster's New York bred speech organs, especially when it's someone else's voice. He really doesn't have that much to say. He's taciturn, gruff, commanding, aloof.Yet he has one memorable scene. Everyone in this movie is concerned with appearances. They're always stopping in front of a mirror and patting their faces with a handkerchief, or smoothing out their mustache or something, ladies and gents alike. Towards the end, Lancaster stops in front of a mirror and stares at his own face for a long time. His features are expressionless. He seems to be looking into another temporal sphere -- the past or the future -- and his eyes water as the tiny rivulet of a tear becomes barely perceptible on his rough cheek.There's some humor too. Not much. All of these tiny Sicilian villages seem to have a raggedy band ready to play as the prince's entourage enters the town, and all the bands, maybe a dozen men all together, seem to feature not one but three tubas. Now, a tuba is a preposterous instrument to begin with, and to have three of them flatulating and burping along behind a pompous march is funny in itself, a perfect score for a silent Charlie Chaplin comedy.Then there's a scene in which a cheerfully corrupt mayor is reading out the fake results of an election. (Lancaster kept his vote open and everybody's vote was counted the same.) The wind keeps blowing out the candles and the band begins to play, on and off, and he turns red with exasperation while trying to keep up a proud front.Visconti makes good use of the wide screen. Each frame looks like a colorful painting. But it's long, and the themes are mostly understated. You have to pay attention. It could have profitably been chopped by twenty minutes or so.