★★★ / DCP / Visconti’s crowd pleaser to me is an illustration of his disjointed approach to building a cohesive narrative. It disregards a sustained exploration of themes, instead emphasizing visual indulgence over substance. Seductively entertaining, but essentially classist, Visconti pulls you in with wondrous moments that intertwine with passages that slog. Lancaster’s tears at the end are hollow sentimentalism.
Cinema as grand gesture: broad in canvas and wide in scope. Whilst some of the family characterisations and dramas are too skin deep for any real engagement or revelation, the sweep of the narrative bowl and sheer visual panache make up for any miniature deficits. Unsung opera it is, with ravishing cinematography and a lush score from Rota coating yet another fall of the gods for Visconti.
Every frame is a painting in Visconti’s lush, opulent and impeccably acted Il Gattopardo. This was probably his most personal film as, in many ways, he was the Prince (and rumor has it Lancaster used the director as inspiration). The waves of melancholia that come and go are poetic and touching, leaving behind a trail of sadness brought to life by the vivid technicolor. The contrast is striking and utterly perfect.
Gorgeous scenery, costumes and sets spellbind me from the first moment as this Italian epic tell about the "fall of Sicily" and the creation of Italy. The utterly perfect Claudia Cardinale and the proud performance of Burt Lancaster as Sicilian prince highlight the cast. The film is slow-moving almost excruciating so, but never boring and always fascinating as it is filled with details and fantastically shot scenes.
""We were the leopards, the lions, those who take our place will be jackals and sheep, and the whole lot of us - leopards, lions, jackals and sheep - will continue to think ourselves the salt of the earth." so very stunning. Visconti's eye for detail is breath taking, this movie was a pleasure to look at and to follow. Great scene composure and staging, captures the ethos of Sicily well
Etonnante plasticité, beauté des formes et des couleurs, esthétisme époustouflant dans cette fresque magique et remarquable. N'empêche que trop de beauté nuit et que la résonance politique manque de dynamisme et d'efficacité. De plus la vision marxiste du sens de l'Histoire, reste des plus caduques quant à sa démonstration... www.cinefiches.com
The beautiful set and costumes, the incredible cast -- Claudia Cardinale, Burt Lancaster, Alain Delon, Pierre Clementi -- and the general quality of this film all work to solidify Visconti's reputation as a perfectionist. The Leopard offers a different perspective on revolution which not only symbolizes the birth of a nation but also the end of an entire class.
Visconti has always been a master of mise-en-scene, but this particular setting allowed for him to pull all the stops. Amidst this splendor lies a touching story portrayed by the most lovable Lancaster I have ever witnessed. Torn by feelings of nostalgia and alienation on the eve of great change. Amazing film.
I prefer the intimate to the epic in general, but there was plenty to chew on. It was a flop when it came out in America, because America had Lancaster typecast. It doesn't surprise me that this is Martin Scorcese's favorite film. It's old Hollywood style. I much preferred 'Conversation Piece'.