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Bezig met laden... The Leopard [filmopname]door Luchino Visconti (Director)
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Why The Leopard is tedious is perplexing. It is remarkably faithful, in externals, to Lampedusa’s fine novel. The color photography, the baroque decor, the period costumes are all superb. “He’s the Tolstoy of interior decoration,” some wit remarked. He is also the Zane Grey of interior cerebration. There seems to be nothing underneath this display, no thought, no feeling, no structure. Crustacean art, all shell... And never more so than in the great ball at the end, lasting a full half-hour, which should have been the structural climax. But since Visconti has had nothing special in mind for the preceding two hours, all he can give us here—beside those long lines of elegantly dressed extras dancing endlessly up to the camera and then away from it—is a sentimental scene between the Prince and the young people, plus two political glimpses: Tancredi justifying the execution the next morning of some Gari-baldian rebels; and the Prince snubbing a general who is boasting about his part in the final defeat of Garibaldi at Aspromonte. We couldn’t be any closer to Lancaster’s Prince if we were inside his skin—which in a way we are. We see what he sees, feel what he feels, and, in the last hour, set at a splendid ball that marks the aristocrats’ acceptance of the Mafia-dominated parvenus who are taking over their wealth and power, we’re inside his mind as he relives his life, experiences regret, and accepts the dying of his class and his own death. It’s one of the greatest of all passages in movies. "The Leopard" was written by the only man who could have written it, directed by the only man who could have directed it, and stars the only man who could have played its title character. The first of these claims is irrefutable, because Giuseppe Tomasi di Lampedusa, a Sicilian aristocrat, wrote the story out of his own heart and based it on his great-grandfather. Whether another director could have done a better job than Luchino Visconti is doubtful; the director was himself a descendant of the ruling class that the story eulogizes. But that Burt Lancaster was the correct actor to play Don Fabrizio, Prince of Salina, was at the time much doubted; that a Hollywood star had been imported to grace this most European--indeed, Italian--indeed, Sicilian--masterpiece was a scandal. Onderdeel van de uitgeversreeks(en)The Criterion Collection (235) Is een bewerking vanHeeft een naslagwerk/handboekBestudeerd inPrijzen
1860. Op het moment dat Garibaldi in zijn vrijheidsstrijd tegen monarchie en aristocratie in Sicilië aan land gaat, vestigt prins Fabrizio di Salina zich met zijn familie in zijn landgoed te Donafugata. Wanneer zijn neef Tancredi een huwelijk met de dochter van burgemeester Don Calogero verkiest boven zijn aristocratische nicht en zich aansluit bij Garibaldi, wordt de prins pijnlijk geconfronteerd met het einde van een tijdperk en onafwendbare sociale veranderingen. Geen bibliotheekbeschrijvingen gevonden. |
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Quando, come tutti gli anni, il principe con tutta la famiglia si reca nella residenza estiva di Donnafugata, trova come nuovo sindaco del paese Calogero Sedara, un borghese di umili origini, rozzo e poco istruito, che si è arricchito e ha fatto carriera in campo politico. Tancredi, che in precedenza aveva manifestato qualche simpatia per Concetta, la figlia maggiore del principe, s'innamora di Angelica, figlia di don Calogero, che infine sposerà, sicuramente attratto dal suo notevole patrimonio.
Episodio significativo è l'arrivo a Donnafugata di un funzionario piemontese, il cavaliere Chevalley di Monterzuolo, che offre a Don Fabrizio la nomina a senatore del nuovo Regno d'Italia. Il principe però rifiuta, sentendosi troppo legato al vecchio mondo siciliano, citando come risposta al cavaliere la frase: "In Sicilia non importa far male o bene: il peccato che noi siciliani non perdoniamo mai è semplicemente quello di 'fare'". ( )