As Garibaldi's troops begin the unification of Italy in the 1860s, an aristocratic Sicilian family grudgingly adapts to the sweeping social changes undermining their way of life. Proud but pragmatic Prince Don Fabrizio Salina allows his war hero nephew, Tancredi, to marry Angelica, the beautiful daughter of gauche, bourgeois Don Calogero, in order to maintain the family's accustomed level of comfort and political clout.
Burt Lancaster Claudia Cardinale Alain Delon Paolo Stoppa Rina Morelli Romolo Valli Terence Hill Pierre Clémenti Lucilla Morlacchi Giuliano Gemma Ida Galli Ottavia Piccolo Carlo Valenzano Brook Fuller Anna Maria Bottini Lola Braccini Marino Masé Howard Nelson Rubien Tina Lattanzi Marcella Rovena Rina De Liguoro Valerio Ruggeri Giovanni Melisenda Giancarlo Lolli Franco Gulà Vittorio Duse Vanni Materassi Giuseppe Stagnitti Carmelo Artale Show All…
浩气盖山河, 표범, De tijgerkat, Leoparden, I leopardalis tis Sikelias, O gatopardos, Yamaneko, Het luipaard, Der Leopard, Le Guépard, 豹, O Leopardo, El gatopardo, A párduc, Леопард, Il Gattopardo, Ghepardul, Leopar, Гепардът, Ο γατόπαρδος, 레오파드, Lampart, لئوپارد, El Gatopardo, Gepard, 山猫, ლეოპარდი, 浩氣蓋山河, Tiikerikissa, El Gattopardo
Mexico
Acapulco Film Festival
France
Cannes Film Festival
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New York City, New York
Italy
Venice Film Festival (Restored Version)
USA
BAMcinemaFest
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FranceTP
Germany12
UKU
JapanG
Mexico
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ItalyT
ItalyT
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Netherlands12
UK
FranceTP
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ItalyT
ItalyT
France
France12
France
France
Brazil
Netherlands12
France
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Brazil
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Germany
Italy
Japan
Mexico
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There will come a day where the leopards and the lions will all live under the same laws – but for the leopard too used to comfort and privilege, too accustomed to his traditions of opulence which stamp out the lives of the sheeps and the jackals, this is too much to bear. His people are a proud one, leopards who would rather continue to dance in their gilded halls amidst the winds of change until gradually those halls erode into empty corridors, chipped and cracked and stripped of all their gilt by bandits and revolutionaries alike until the only occupants left are the spiders who continue to weave and the ghosts who dance in their webs.
For a brief…
A requiem for a dying world, Luchino Visconti conducts a symphony of fading grandeur, a melancholic hymn to the inevitability of change. Set during Italy’s Resurgimento — a time of rebellion, unity and compromise — the film transforms history into poetic art, not narrating the birth of a nation, but the slow, dignified death of an era. It is a canvas where Visconti, filmmaker, historian and elitist, paints the twilight of the Sicilian aristocracy with traces of light and shadow, majesty and despair.
The Risorgimento promised revolution, but delivered a fake evolution, exchanging one hierarchy for another. The Salina family, noble, but weathered, is at the center of this transformation, personified by Prince Don Fabrizio Salina. Burt Lancaster imbues the…
“The Leopard” plays off the southern Italian aristocracy with orchestral opulence. But the grand finale … is seen only through the increasingly fading eyes of an aging man.
Luchino Visconti’s epic adieu to the past is a farewell the likes of which can never be captured in cinema again. Visconti - himself the son of a Duke - is able to grant a kiss goodnight in the way only a beloved family member could manage. His parting is one of melancholic finality, where tomorrow must come… but with a barren, empty dawn.
Based off a beloved Italian novel, “The Leopard” recounts the 1860s social revolution in Sicily. Burt Lancaster as Prince Don Fabrizio Salina attempts to make some secessions to…
I’m rather amazed that there is no comparative analysis of The Leopard and Dr. Zhivago that I could easily find. Within the first 20 minutes what struck me was that this was the Italian Dr. Zhivago. Both are stories of the aristocracy facing revolutionary change in their beloved countries. Another similarity is the sumptuous cinematography, the directors un-afraid to dote on pictorial landscapes to set the mood. Both films clock in at almost the same length .. 195 minutes for the Cannes release of The Leopard, and 197 minutes for Zhivago. Finally, both novels were picked up by the same publisher. Interestingly, both films are rated 8.0 on IMDB.
This is where the stories diverge. While the film version of…
Em "O Leopardo", Visconti retrata a Sicília do século XIX em um momento de transformação importante . O filme mostra a decadência da aristocracia, representada pelo Príncipe Fabrizio, que se vê lutando para encontrar seu lugar em um mundo que está mudando rapidamente. Através de uma perspectiva voyeur, somos convidados a observar a fragilidade desse mundo antigo. As festas luxuosas e os banquetes, que antes simbolizavam poder e prestígio, agora revelam uma certa tristeza. A famosa frase "Se queremos que tudo permaneça como está, é preciso que tudo mude" ecoa ao longo da narrativa, refletindo a luta interna da aristocracia para se adaptar enquanto se aproxima do fim de sua era. A relação entre Tancredi, um jovem aristocrata, e Angelica,…
The Leopard is one of Luchino Visconti’s illustrious masterpieces. It's a gorgeous stanza set during the period of the unification and independence of Italy during the mid-nineteenth century, and it spotlights the crusade between mortality and fading recollections during the shift of political systems. It houses a tremendous central performance from Burt Lancaster embodying the decline of the Italian aristocracy as nationalism begins to rear its head, and both his physical stature and the narrative moves with a magisterial type grace.
The cinematography by Giuseppe Rotunno is awe-inspiring, and the camera meanders through a range of gorgeously wild landscapes and luxuriously majestic interiors. They are faultlessly defined as they are described in the equally superb 1958 posthumously published novel by Giuseppe Tomasi di Lampedusa on which the film is established. All aspects are allotted carefully considered attributes, and the justifiably renowned ballroom scene applies powerful unspoken dynamics between its principle leads. This film is a triumph of visual storytelling.
In The Leopard, Luchino Visconti starts from the interpretation of the Risorgimento as an unfinished revolution that was already the basis of Senso. This time, too, Italian history is not told from the point of view of the heroes of the New World, but through the perspective of a class in its twilight age: the Sicilian aristocracy during the transition from the Bourbon regime to the unification of Italy. The film represents this period of strong social transformation with meticulous attention to details, interweaving the grandeur of the historical fresco with an intimate and refined description of its characters.
Visconti, with his direction, does not merely recount the conclusion of an era, but lives and suffers it, infusing the movie…
Just like it is man's ambition to climb up the staircase of wealth, power and social positions, Visconti has gone up the stairs through cinema, moving from one class to another: the exploited labor in La Terra Trema: Episodio del Mare (1948), the struggling portions of the low/middle class in Rocco e i suoi Fratelli (1960), the common and simple citizens in Le Notti Bianche (1957), and the aristocracy and patriotic soldiers in Senso (1954) and Il Gattopardo, until now. Exceptional masterpiece that clearly shows the roots of inspiration for Coppola's famous gangster epics, Il Gattopardo is an elegant strong dish propelled by a tremendous full-star cast including Cardinale, Morelli, Delon, Stoppa, Regianni and Lancaster, a glorious cinematography, bright and…
A cinematic masterclass in authentic costuming, painterly cinematography, detailed framing, as well as melancholic, operatic filmmaking where each sumptuous frame drips with atmosphere, style and passion that burst right off the screen which makes you forget everything and results in you drooling in your seat.
I will gladly admit that I had a really tough time following this film's politically- and historically laden story because I was really tired. Many of its story developments and plot nuances were entirely lost on me, but this didn't diminish my overall enjoyment of it. A film about the rich made by a director who knew aristocracy better than anyone else because he grew up in one of the wealthiest families in Italy. He…
"Something had to change for everything else to remain as it was."
Such lofty hopes mixed with such despairing cynicism. 1860's Italy is a scene in transition, a landscape undergoing great tectonic shifts, and yet while the ground may rumble and shake with the passing of the times, it's not clear whether these earthquakes are changing the geography in a meaningful way or whether the land will ultimately remain recognizable.
There are certainly elements of this society worth changing. We see the obscene decadence of the bourgeoisie, the wretched poverty of the proletariat, and the lazy indifference of the men in power with the ability but without the intent to change the world they hold in the palm of their…
