Word: visconti
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Dates: during 1960-1969
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...hardy little band of inspired pioneers: Japan's Akira Kurosawa (Rashomon); Sweden's Ingmar Bergman (Wild Strawberries); France's Alain Resnais (Hiroshima, Man Amour) and Francois Truffaut (The 400 Blows); Italy's Federico Fellini (La Dolce Vita), Michelangelo Antonioni (L'Avventura) and Luchino Visconti (Rocco and His Brothers); England's Tony Richardson (Look Back in Anger); Poland's Andrzej Wajda (Kanal) and Roman Polanski (Two Men and a Wardrobe); Argentina's Leopoldo Torre Nilsson (Summerskin); India's Satyajit Ray (Father Panchali...
...Leopard. Italian Film Director Luchino Visconti (Rocco and His Brothers) has made a remarkable film about the fortunes of a fading princely household in 19th century Sicily. Burt Lancaster, Claudia Cardinale and Alain Delon star in this splendid cinematic set piece...
...Leopard. Italian Film Director Luchino Visconti (Rocco and His Brothers) has made a remarkable film-scenically beautiful, dramatically satisfying, philosophically profound-about the fortunes of a fading princely household in 19th century Sicily. Burt Lancaster. Claudia Cardinale and Alain Delon star in this splendid cinematic set piece...
...histrionic level, The Leopard presents two performances sensitively supervised by Visconti. Cardinale, who in the past has tended less to play than to display, is delectably vulgar and amusingly shrewd as the ragazza whose ways are almost as captivating as her means. And Lancaster, within definite limits, is superb. True, his Salina never quite becomes the figure of "leonine aspect, whose fingers could twist a ducat coin as if it were mere paper." But as the scenes accumulate, the character compiles impressive volume and solidity, and by film's end the grand Sicilian stands in the mind...
...literary level, The Leopard offers a magnificent interplay of ironies. Sometimes the satire strikes at the right: in one stunning vignette, Director Visconti (who in private life is the Count of Modrone) executes a mortal lampoon of the old nobility. The Prince and his family, after a long and dusty journey, go straight to church, and there the camera finds them grey with dust and incense and fatigue, propped in their gloomy niches like medieval effigies, like spirits of the dead come back to haunt the living. Sometimes the laugh is on the Left: at the Ponteleone Ball, which fills...