Il Principe di Salina, un nobile aristocratico impeccabile nella sua integrità, cerca di proteggere la propria famiglia e la propria casta nel corso delle sommosse popolari della Sicilia del... Leggi tuttoIl Principe di Salina, un nobile aristocratico impeccabile nella sua integrità, cerca di proteggere la propria famiglia e la propria casta nel corso delle sommosse popolari della Sicilia del 1860.Il Principe di Salina, un nobile aristocratico impeccabile nella sua integrità, cerca di proteggere la propria famiglia e la propria casta nel corso delle sommosse popolari della Sicilia del 1860.
- Candidato a 1 Oscar
- 10 vittorie e 6 candidature totali
Terence Hill
- Count Cavriaghi
- (as Mario Girotti)
Marino Masé
- Tutor
- (as Marino Mase')
Howard Nelson Rubien
- Don Diego
- (as Howard N. Rubien)
Alain Delon's Top 10 Films, Ranked
Alain Delon's Top 10 Films, Ranked
To celebrate the life and career of Alain Delon, the actor often credited with starring in some of the greatest European films of the 1960s and '70s, we rounded up his top 10 movies, ranked by IMDb fan ratings.
Trama
Lo sapevi?
- QuizDirector Luchino Visconti was disappointed that the producers of the film insisted on casting Burt Lancaster in the lead role, because he felt he was not right for the part. This caused tension between the two during the first few weeks of filming. Visconti's harsh treatment toward Lancaster eventually led to the actor publicly confronting him on the set. Visconti was so impressed with the passion and sincerity that Lancaster displayed during his tirade that the two developed a close and amicable relationship for the rest of the filming process.
- BlooperAt the begging of the film, Prince of Salina uses de word "mafiosi" to describe Garibaldi's supporters. This word settled few years later, as a result of the popularity of the play "I mafiusi di la Vicaria" from 1863. The mafia organization as we know it, was just starting its activities as such during the post unification period.
- Citazioni
Tancredi Falconeri: If we want things to stay as they are, things will have to change.
- Versioni alternativeThe original Italian theatrical cut of "The Leopard" ("Il Gattopardo") reportedly ran 205 minutes. General consensus that the running time was excessive led Visconti to edit the film shortly after its premiere. The version that won the Palme d'Or at Cannes reportedly ran 195 minutes (based on an Italian newspaper account of the day). Visconti's preferred cut ran 187 minutes. It is this version that is now available on DVD from the Criterion Collection. An English-dubbed version, re-cut by 20th Century Fox for U.S. and U.K. release, runs approximately 161 minutes, and is also included in the Criterion set.
- ConnessioniEdited into Lo schermo a tre punte (1995)
- Colonne sonoreTitoli di Testa / Viaggio A Donnafugata
Composed by Nino Rota
Recensione in evidenza
This is a beautiful and thoughtful film about the changes occurring in Sicily after 1860, with the unification of Italy and the disappearance of the old Kingdom of Sicily. It explores these changes and and changing role of the old aristocracy through the experiences of the Prince of Salina. Overall it is an excellent film with many beautiful scenes, much contemplation, and a great exploration of the prince's character, views, a realisations.
It has some absolutely incredible moments, particularly the grand ball at the end, which is handled wonderfully. The film perfectly captures the prince's feelings, sadness, and sense of separation or isolation from the rest of the seemingly happy people at the ball and I don't think that I have ever seen this phenomenon handled so powerfully. The whole atmosphere of the ball, with the prince sweating and feeling in a daze while others laugh, giggle, dance and gossip, is wonderful, as is the horrible din while people go to get food and chat away whilst eating. It is unusual in that it perfectly captures such negative aspects of big, "festive" parties so rarely even addressed, much less demonstrated so flawlessly. The fact that such feelings of isolation and the like are a fundamental reality of big parties, especially when one has a lot on one's mind, makes this all the more forceful and compelling.
However, the film has some weaknesses. It does not bring everything together quite perfectly and fails to completely hit the nail on the head. I understand the transformations in the film and the prince's emotions, yet there is too little information underlying all of this too really see the bases for these thoughts, etc. I needed to extrapolate and rely on my own knowledge of the historical circumstances, none of which really should be necessary. The result is that I can easily see how audiences may be confused or uncertain what it's all really about. Moreover, it introduces scenes or issues that seem to have no point, lack an explanation, and go nowhere. Some seem at first to have significance, but then go nowhere and this tends to distract from the central plot and themes of the film while leading to potential confusion about the point of the scenes, as well as expectations that the issues will arise again. However, while these points to me prevent this from being the absolute masterpiece that it could have been, they do not seriously detract from the film and are only minor dents in the film's incredible strengths.
It has some absolutely incredible moments, particularly the grand ball at the end, which is handled wonderfully. The film perfectly captures the prince's feelings, sadness, and sense of separation or isolation from the rest of the seemingly happy people at the ball and I don't think that I have ever seen this phenomenon handled so powerfully. The whole atmosphere of the ball, with the prince sweating and feeling in a daze while others laugh, giggle, dance and gossip, is wonderful, as is the horrible din while people go to get food and chat away whilst eating. It is unusual in that it perfectly captures such negative aspects of big, "festive" parties so rarely even addressed, much less demonstrated so flawlessly. The fact that such feelings of isolation and the like are a fundamental reality of big parties, especially when one has a lot on one's mind, makes this all the more forceful and compelling.
However, the film has some weaknesses. It does not bring everything together quite perfectly and fails to completely hit the nail on the head. I understand the transformations in the film and the prince's emotions, yet there is too little information underlying all of this too really see the bases for these thoughts, etc. I needed to extrapolate and rely on my own knowledge of the historical circumstances, none of which really should be necessary. The result is that I can easily see how audiences may be confused or uncertain what it's all really about. Moreover, it introduces scenes or issues that seem to have no point, lack an explanation, and go nowhere. Some seem at first to have significance, but then go nowhere and this tends to distract from the central plot and themes of the film while leading to potential confusion about the point of the scenes, as well as expectations that the issues will arise again. However, while these points to me prevent this from being the absolute masterpiece that it could have been, they do not seriously detract from the film and are only minor dents in the film's incredible strengths.
- Wulfstan10
- 8 ago 2006
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- El gatopardo
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- ITL 2.900.000.000 (previsto)
- Lordo in tutto il mondo
- 294.138 USD
- Tempo di esecuzione3 ore 6 minuti
- Colore
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By what name was Il gattopardo (1963) officially released in India in English?
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