This is a masterpiece. Luchino Visconti was forced to use Burt Lancaster as his star, but Burt did a fabulous job of acting, even though his words were dubbed! The film is more subtle and nuanced than the current miniseries on Netflix. It is reminiscent of Gone With the Wind, in that it's a character study of a waning ruling class that is about to lose power due to major political changes. This is a film that is beautifully directed, written, and acted, and well worth watching if you love Italian movies.

Como todas las películas de Luchino Visconti, es una joya del cine, posee unos diálogos encomiables, la escenografía es perfecta y es una película fiel a la historia.

Absolutely cinematic pleasure. Luciano Visconti at his best. It's a timeless classic.

Quite simply amazing. Gorgeous setting, filming, cast, and costumes. All the beauty is perfectly matched with brilliant dialogue. A joy to soak in the atmosphere of 1860s Sicily. Burt, Claudia and Alain are exquisitely cast and embody the piece with a radiance to match the beaming mid day sun. 'if we want things to stay as they are, things will have to change' Change comes to all of our lives. Watching the Prince navigate the tectonic changes of the Risorgimento is a wonderful meditation on the human journey through the shifting sands of time.

Everything changes, but nothing changes!

Lumbers for about 3 hours too long.

A lesser movie would have Corbera become a tragic figure simply because an ever changing world no longer finds him or his generation relevant but instead he's granted a kind of clarity about the harsh realities of revolutions (i.e. if society changes too quickly, it will simply stay the same or get worse) that isn't afforded to the other characters. This has the effect of robbing the dying nobility, their brash, young replacements, and the revolutionaries of any sympathy which is an impressive feat on Visconti's part.

obviamente la ví por el concepto de gatopardismo y la crítica a la política y el poder y no para ver italianos uniformados c: dura cómo mil millones de horas que no?

i would not normally watch this kind of movie, but sometimes a film or work of art just mesmerises me. This film does so through cinematography, landscape, set and costume.... i didnt realise caravaggio did movies. It is jaw droppingly stunning. Each frame is beautiful, and then it pans! And it comes to rest again, and it is beautiful all over again. This is enough in itself, so the plot is irrelevant. But then i realised that the sumptious imagery was actually a deep part of the main character and his life. How could anyone readjust to the loss of such privilege and history? I almost felt sorry for that loss.... until you realise that beauty seduces completely. And then we can laugh at the ludicrous dancing. Human beings! what are we like?

Visconti's direction is flawless. The battle and ballroom scenes are terrific. For those reasons I recommend the movie. I just wish the story dwelt more on the historical events rather than the romantic entanglements.

A lesser movie would have Corbera become a tragic figure simply because an ever changing world no longer finds him or his generation relevant but instead he's granted a kind of clarity about the harsh realities of revolutions (i.e. if society changes too quickly, it will simply stay the same or get worse) that isn't afforded to the other characters. This has the effect of robbing the dying nobility, their brash, young replacements, and the revolutionaries of any sympathy which is an impressive feat on Visconti's part.

Epic storytelling. The banquet and ballroom scenes that finish the film were gorgeous to watch. Thoroughly enjoyed and thanks to Martin Scorsese and Fran Lebowitz for praising it so in her Netflix series, Pretend It's a City. I wouldn't have known about it otherwise.

Very little happens and yet the three hour run time doesn't drag which is a minor miracle. The tragedy of ageing is poignantly shown here.

While Les Enfants du Paradis may have been championed as the French response to Gone With the Wind, Il Gattopardo is far more of a direct parallel among European films, with its literary inspiration, themes of changing social structures, romantic elements, and top-notch visuals, including incredible color photography, sets, and costumes. While the comparison is apt, The Leopard is far more narratively subtle but no less willing to commit to great action setpieces; the protagonist is necessarily insulated from the immediate effects of the revolution so he can reflect on them in isolation (initially finding a wise historical relevance, but gradually recognizing an inevitable distress for the practical consequences). The film instead composes a substantial revoltuionary battle sequence whose only immediate relevance to the main cast is a small injury to Delon's Tancredi, the remainder only providing context. The ballroom scene, so often referred to as justification for the single term most often ascribed to the film - "sumptuous" - is teeming with vibrancy and exudes allure. The lack of sync between Lancaster's lips and the dialogue provided by his voice actor for the original Italian version is certainly noticeable, but can be overlooked after some time spent adjusting to the format; it's just unusual to see that sort of disconnect in a high-budget period drama, when it would seem more fitting for a Bruce Lee kung fu flick. Even with this shortcoming, it's clear that Lancaster delivers a powerful performance as the aristocratic and learned Prince, gradually sliding from contentment in his knowledge of the fixed nature of his world and his place in it, to a less certain morose individual recognizing his mortality as well as the uncertain nature of his lifestyle. Not necessarily a socially revolutionary film, but magnificently composed and entirely worthy of its critical estimation. (4/5)

phenomenal. Everything about this movie was fascinating.

The costumes and locations are beyond exceptional. Add a fantastic cast headed by the ever-restrained Burt Lancaster and you've got a spectacular film.

This is a timeless tale about the pitfalls and complacencies of modernity and benign versions of conservatism, one of the best books ever written and one of the best movies ever made. Full stop.

I knew a philosophy professor who said, "Everybody agrees that change is inevitable." Boy, did that guy get things wrong. Go see "The Leopard." Maybe the leopard can change his spots and maybe he can't. Maybe it doesn't matter. Lancaster is wonderful as "the prince."

The Leopard is epic in scope and beautifully crafted. Much like Sergio Leone's spaghetti westerns, Luchino Visconti casts people with the perfect looks for the part, focuses on faces, and communicates non-verbally through eye movements. Without being able to really relate to the prince, we come to sympathize with him as he comes to terms with aging and seeing his way of life come to an end. My only criticism is the film is difficult to follow at times and all the secondary characters are hard to keep track of. They often appear and disappear without explanation. This probably has to do with 20 minutes of the original being lost thanks to the American butchering of the original, rather than negligence on Visconti's part.

Italy's own 'Gone With The Wind'. A flawless diamond.