The Leopard (1963 film)
From The Art and Popular Culture Encyclopedia
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The Leopard (Italian: Il Gattopardo) is an award-winning 1963 film by Italian director Luchino Visconti, based on Giuseppe Tomasi di Lampedusa's novel of the same name.
The film features an international cast including the American Burt Lancaster, the Frenchman Alain Delon and the Italian Claudia Cardinale. It is generally seen today in the Italian language version, in which Lancaster's lines are dubbed into Italian by another actor; however, an English dubbed version was also produced at the time, in which Lancaster's own voice is heard.
The film has circulated in numerous versions. Visconti's first cut was 205 minutes long, but this was regarded as excessive; he cut it down to 185 minutes for the official release, and regarded this version as his preferred length. The version shown in the English speaking world was a 161-minute dubbed version edited by 20th Century Fox. A 151-minute version was released in Spain.
Plot
Set in Sicily in the year 1860. Don Fabrizio Corbera, Prince of Salina, enjoys the customary comforts and privileges of his ancestry. War has broken out between the armies of Francis II of the Two Sicilies and the insurgent volunteer redshirts of Giuseppe Garibaldi. Among the rebels is the Prince's nephew, Tancredi, whose romantic politics the Prince hesitantly accepts with some whimsical sympathy. Upset by the uprising, the Prince departs to Palermo. Garibaldi's army subjugate the city and expropriate Sicily from the Bourbons. The Prince muses upon the inevitability of change, with the middle class displacing the ruling class while on the surface everything remains the same. Refusing to bend to the tide of changes, the Prince departs to his summer palace at Donnafugata.
A new national assembly calls a plebiscite and the nationalists win 512–0, thanks to the corruption and support of the town's leading citizen, Don Calogero Sedara. Don Calogero is invited to the villa of the Salinas, and he brings his daughter Angelica with him. Both the Prince and Tancredi are taken by Angelica's beauty. Soon thereafter, Tancredi makes plans to ask for her hand in marriage.
The Prince sees the wisdom of the match because he knows that, due to his nephew's vaulting ambition, Tancredi will be in need of ready cash, which Angelica's father will happily provide. With the blessing of both the Prince of Salina and Don Calogero, Tancredi and Angelica get engaged.
A visitor from the constituent assembly comes to the villa. He pleads with the noblemen gathered there to join the senate and to guide the state; he hopes that the Prince's great compassion and wisdom will help alleviate the perceived poverty and alleged ignorance on the streets of Sicily. However, the Prince demurs and refuses this invitation, observing that Sicily prefers its traditions to the delusions of modernity because its people are proud of their ancient heritage. He sees a future where the leopards and the lions, along with the sheep and the jackals, will all live according to the same law, but he does not want to be a part of this democratic vision.
He notices that Tancredi has shifted allegiance from the insurgent Garibaldi to King Vittorio's newly-formed army, and wistfully judges that his nephew is the kind of opportunist and time-server who will flourish in the new Italy.
A great ball is held at the villa of a neighbouring Prince which is attended by the Salinas including Tancredi. Afflicted by a combination of melancholia and the ridiculousness of the nouveau riche, the Prince wanders forlornly from chamber to chamber, increasingly disaffected by the entire edifice of the society he so gallantly represents – until Angelica approaches and asks him to dance. Stirred and momentarily released from his cares, the Prince accepts, and once again he recaptures and presents the elegant and dashing figure of his past.
However, he becomes disenchanted and leaves the ball alone. He asks Tancredi to arrange carriages for his family, and walks with a heavy heart to a dark alley that symbolises Italy's inordinate and fading past which he inhabits.
