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The Leopard - Criterion CollectionRating:
Release Date: 25 May, 2004 Retail Price: $49.95 OUR Price: $44.99 You SAVE: $4.96! Cast: Complete Cast (6 total) |
The Leopard - Criterion Collection Reviews
The Leopard be Damned!
I have enjoyed reading the reviews of The Leopard: Let us now bow our heads and praise Luchino... I first saw The Leopard in a big movie theater, in Paris in 1971, in Italian with French subtitles. My French, she is not so good, and my Italian, well, it is nonexistent! But I got the point! As the many reviewers of The Leopard point out, the film is beautiful, sweeping and grand, (a masterpiece!) the story of a nobleman faced with challenges brought on by changing times. And with every new problem, the old cat deftly avoids catastrophe and steers his family into the future. ... and the film is soooo boring!!! Its beautiful, but the story goes nowhere.
Some review writers of The Damned were shocked, some seemed to be amused, and others were disgusted. In my opinion, all these views reflect the writer's circumstances as much, if not more, than the merits or flaws of the actual film.
The Damned is simply the flip side of The Leopard. Same basic situation, but this time the old man is killed off right at the start, and the family then slides into degradation, perversion, etc. etc. until the most immoral member is left in charge, offering his mother poison as a wedding present. Nice? No. But not at all boring.
Perhaps I overstate the case, and maybe conflict and plot are less important in Visconti's films than character, music, sets, dialogue and costumes. I'll let others argue those points. What I do suggest is that neither The Damned or The Leopard should be praised or condemned too much without seeing, comparing and contrasting both of these remarkable films with each other. Only then can Luchino Visconti's films be evaluated as expressions of a cinematic genius and/or a regional chauvinist.
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 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.
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