Film Review: The Leopard (Il gattopardo, 1963)

The recording of history has often been dominated by the voices of the upper echelons of society. This trend can be attributed to the fact that aristocrats historically possessed both the leisure and resources necessary for writing, a privilege that was typically denied to peasants and the lower classes. This phenomenon has found the way to affect even modern cinema. A quintessential example of this is The Leopard (Il gattopardo), a 1963 Italian epic period drama directed by Luchino Visconti. The film offers a poignant depiction of a time of significant social upheaval in Italy, viewed through the lens of an aristocrat.

The Leopard is based on the novel Il gattopardo by Giuseppe Tomasi di Lampedusa, a member of a noble Sicilian family with titles such as Prince of Lampedusa and Duke of Palma. Tomasi drew inspiration from his great-grandfather, who lived during the tumultuous 1860s—a period marked by Italy's Risorgimento, or unification movement. The author passed away in 1957, shortly before his novel was published to critical acclaim, becoming a bestseller and winning the prestigious Strega Prize in 1959.

The film opens in May 1860 against the backdrop of the Expedition of the Thousand, a crucial event in Italy's unification process. Prior to this upheaval, Sicily and much of Southern Italy were under the rule of the Kingdom of Two Sicilies, an absolutist monarchy dominated by the Bourbon dynasty and heavily influenced by the Catholic Church. This regime was staunchly opposed to the liberal ideals championed by revolutionaries from Northern Italy. The arrival of Giuseppe Garibaldi and his volunteers marked a significant turning point as they aimed to overthrow Bourbon rule and unify Italy under the Kingdom of Piedmont-Sardinia, which had already annexed much of Northern and Central Italy.

The reactions to these monumental changes within the household of Don Fabrizio Salina (played by Burt Lancaster), Prince of Salina, illustrate the varied responses to revolution. His wife Maria Stella (played by Rina Morelli) is gripped by fear over potential violence, while Father Pirrone (played by Romolo Valli), their chaplain, expresses concern over possible losses to Church privileges. In stark contrast, Don Fabrizio exhibits a resigned acceptance towards an uncertain future. His nephew Tancredi Falconeri (played by Alain Delon) embodies opportunism as he joins Garibaldi’s forces, seeking fame amidst Palermo's bloody street battles. As revolutionary sentiment grows among previously apathetic classes, culminating in an October plebiscite that confirms unification with Italy, Don Fabrizio retreats to his summer palace near Donafugata. There he witnesses Don Calogero Sedara (played by Paolo Stoppa), a wealthy merchant from humble beginnings, ascend to power as mayor—a symbol of the new social order. Tancredi’s shift from an engagement with Don Fabrizio’s daughter Concetta (played by Lucilla Morlacchi) to a romantic alliance with Don Calogero’s daughter Angelica (played by Claudia Cardinale) further underscores this transition from old aristocracy to new wealth.

Originally slated for direction by Mario Soldati and Ettore Giannini—both ultimately dismissed—Visconti emerged as a fitting choice for The Leopard. His earlier work Senso (1954), set during a similar historical period, serves as a thematic companion piece to this film. Visconti's intimate knowledge of aristocratic life enriched his portrayal of this world; he was not merely an outsider looking in but someone who had experienced its intricacies firsthand. His critical stance towards this world was informed by his political beliefs as a member of the Italian Communist Party; he viewed history through a Marxist lens that emphasised class struggle.

Titanus, the studio behind The Leopard, recognised that recreating this pivotal moment in Italian history warranted substantial financial investment akin to Hollywood’s grand historical epics prevalent during the 1950s and 1960s. The film’s budget is evident in its lavish scenes featuring hundreds of extras. While much was filmed on location in Sicily, meticulous attention was paid to historical accuracy through costumes, props, and sets—most notably in the iconic ball scene that occupies nearly one-third of the film’s runtime.

Despite its many strengths, The Leopard does suffer from one notable shortcoming: its soundtrack composed by Nino Rota. While functional within the context of the film, it fails to leave a lasting impression or match the grandeur typically associated with Rota’s illustrious career as a film composer.

Significant financial resources were also invested in assembling a star-studded cast that included Alain Delon and Claudia Cardinale—two of Europe’s most celebrated actors at that time. To appeal to American audiences and ensure box office success in North America, producers insisted on casting a Hollywood star in the lead role. Burt Lancaster was selected after demonstrating enthusiasm for Tomasi’s novel upon reading it. Initially at odds with Visconti—who viewed Lancaster as too much of a "cowboy"—the two eventually reconciled their differences on set and formed a lasting friendship. Lancaster’s portrayal of Don Fabrizio as contemplative yet passive proved to be one of his most iconic performances.

Lancaster's performance compensates for what some contemporary viewers might perceive as The Leopard's greatest flaw: its relative lack of action outside early chaotic street fighting scenes in Palermo. Instead, it is through Don Fabrizio’s interactions with other characters and his astute observations about societal changes that audiences grasp Visconti's critical perspective on what many Italians consider their nation's most glorious chapter—the Risorgimento. While unification brought forth national solidarity, it did not eradicate social divisions; Sicily remained marked by backwardness and violence. As Don Fabrizio poignantly reflects: “leopards and lions” have merely been supplanted by “jackals and hyenas.”

This cynical viewpoint did not resonate well with some members of Visconti's leftist contemporaries but aligns with themes of political opportunism embodied in Tancredi’s famous assertion: “If we want things to stay as they are, things will have to change.” The evolution from Garibaldi’s red shirts to formal military uniforms illustrates this shift; Tancredi initially embraces revolutionary ideals but ultimately adapts to serve within established structures once power dynamics shift in favour of conservatism.

At its release, viewers were less concerned with political implications than with star power and spectacle; The Leopard achieved immense popularity in Italy despite Titanus facing bankruptcy due to prior failures like Sodom and Gomorrah. Critically acclaimed from its debut—winning the Palme d'Or at Cannes Film Festival—it established itself as one of Visconti's most celebrated works and remains highly regarded within cinematic history.

The Leopard stands as an intricate tapestry woven from threads of history, class struggle, and personal reflection against a backdrop of monumental societal change. Through Visconti's lens, we witness not only the decline of an aristocratic way of life but also gain insight into broader themes that resonate across time—political opportunism, social mobility, and the enduring nature of class divisions—all encapsulated within one man's poignant journey through an era marked by transformation yet fraught with continuity.

RATING: 8/10 (+++)

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