Le Guépard

The Leopard is a 'cinematic novel' that treats several layers with pure mastery. Everything about The Leopard is exceptional---we were hooked at the first episode, and it only got better. Not since The Godfather has there been such a great combination of drama and passion in an authentic Italian setting. A phenomenal cast and breathtaking costumes add to the fun of watching this show. On the one hand, it encapsulates the essence of Sicily, Sicilians, and the Italian Risorgimento. On the other, it takes you on a deep dive into the universal struggle of distinguishing good from evil; in life, relationships, and love. It is also a cinematographic masterpiece: one can almost smell the Sicilian oranges. And the acting...., the acting!

You do keep watching it, so it does engage one's interest, but those viewers who then read the book to the end will be wondering; where's the rest of it?

The small compact story loaded with detail has been expanded into a family and political epic. Many of the additions are good and add suspense, but the further we get from the source material, something is lost. Conchetta becomes the central character. The final episode was overlong , optimistic and unsatisfactorily missed the dual dumping of aristocracy and religious relics.

One can only imagine that episode was the result of an almighty clash between artistic integrity and 'money men' 's idea of a popular ending; and the money men won.

So, something different to Visconte/Lancaster/Cardinale production of 1963.

Based on Giuseppe Tomasi di Lampedusas's novel, The Leopard, Italy's War and Peace, the series details the revolution led by Giuseppe Garibaldi, beginning in 1860, which led, eventually, to the unification of Italy. It betters Visconti's 1963 film adaptation in many ways, not least in using genuine Italian actors instead of glamorous Hollywood stars like Burt Lancaster and Alain Delon-who were dubbed and Claudia Cardinale who had no need to be. The sets are fabulous because they're actual "pallazzi", Sicilian palaces, packed with the art of the times. There's romance, intrigue, politics and religion, what more could you ask for.

Many don't know that Italy was united very late in history and that unification came with tremendous upheaval. I have read that Don Fabrizio was based on Lampedusa's own grandfather. You may not sympathize with the privileged life depicted here but Don Fabrizio is an amazing character -- entitled and flawed, yes, but also prescient, indomitable, resilient, shrewd, loving, pragmatic, and, in his own way, principled. Note the importance of the Church in the story -- Catholicism vs. Secularism was part of the conflict, especially since some Italian states were Papal states well into the 19th century. Also, the contrast between northern Italy, represented by the new government and Concetta's suitor, versus the culture of the South, is an important element, as well as the eternal class struggle. The production is visually beautiful too. I recommend reading the novel by Lampedusa and streaming the Luchino Visconti film with Burt Lancaster as well. Decide for yourself which is best -- for me, they all complement each other. So glad this great story is getting a new audience.

My wife and I just watched the Netflix series and the 1963 Visconti film (available for $ on Prime), and here are our takeaways. The film holds up vey well, especially the 1983 vastly improved cut still holds up. It's a splendid example of a movie epic in the grandest style. The Netflix series is nicely updated for current sensibilities by expanding and enhancing Concetta's role in the family saga. This by no means detracts or diminishes the overarching theme of a class in decline. The novel in fact ends with Concetta as more prominent, so the series does a good job of building off that. Both are outstanding productions comparable to Gone With the Wind and well worth watching, especially for those with a fondness for family sagas.

Incidental note: Deva Cassel is well-positioned to be the next Bond Girl.