Count Don Luchino Visconti di Modrone was born into one of the oldest families in Italy, 1906. His family crest — a serpent devouring a baby — adorned the very pillars of Milanese society; even the Cathedral was founded by a Visconti. He grew up in a castle surrounded by a medieval village, the feudal idyll restored by his father, who had fortified himself by marrying the Erbe fortune.
In other words, this lifelong Communist and pioneer of neo-realism was ideally suited to film Lampedusa’s elegiac account of a nineteenth century Sicilian aristocrat, Prince Salina (Burt Lancaster) fading into history. The first half shows us social upheaval through sweeping martial conflict, but the second half of this stately three hour film takes place at the Prince’s summer retreat, and principally concerns marital arrangements for his nephew Tancredi (Alain Delon) to the nouveau riche bourgeois Angelica (Claudia Cardinale), ultimately a more radical change.
Visconti’s fetishistic attention to detail extended to the embroidered silk handkerchief tucked away out of sight in Angelica’s purse. This is one of the most beautiful films ever made, but it’s also profoundly resonant. This is where Coppola and Cimino found the tempo for wedding scenes in The Godfather and The Deer Hunter.
Sunday’s Pantheon screening will feature a 15-minute introduction by a local film scholar and be followed by an audience talkback.
The greatest film of its kind made since World War II — its only rivals are Kubrick’s Barry Lyndon and Visconti’s own Senso.
J Hoberman, Village Voice
The film’s superb first two hours, which weave social and historical themes into rich personal drama, turn out to be only a prelude to the magnificent final hour — an extended ballroom sequence that leaves history behind to become one of the most moving meditations on individual mortality in the history of the cinema.
Dave Kehr, Chicago Reader
Miraculous and emotionally devastating.
Roger Ebert
Luchino Visconti
Burt Lancaster, Claudia Cardinale, Alain Delon, Pierre Clementi, Rina Morelli
Italy
1963
In Italian with English subtitles
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Credits
Screenwriter
Suso Cecchi D’Amico, Enrico Medioli, Pasquale Festa Campanile, Massimo Franciosa, Luchino Visconti
Cinematography
Giuseppe Rotunno
Editor
Mario Serandrei
Original Music
Nino Rota
Art Director
Mario Garbuglia
Also in This Series
The greatest films of all time.
Fantasia
Walt Disney pushed the boundaries of animation and sound recording when he put together a movie concert: eight classical pieces by Bach, Beethoven, Stravinski et al, each animated in a different style. It's playful, sometimes cute, other times inspired.
Image: © Disney, 1940
Breaking the Waves
Kicking off our 2026 Pantheon series of the greatest films ever made, Lars von Trier's 1996 masterpiece is a devastating melodrama featuring an indelible performance from Emily Watson as the woman whose love for her husband knows no bounds.
Antonia's Line
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Sansho the Bailiff
The third of the great Japanese masters (with Ozu and Kurosawa), Mizoguchi is a poet of suffering. There's plenty of that here in his exquisite telling of an ancient folktale about the enslavement of a woman and her two children.
The Leopard
Lampedusa's elegiac account of a 19th century Sicilian aristocrat, Prince Salina, fading into history is one of the pinnacles of Italian cinema, an epic which influenced the tempo and gravitas of The Godfather, Age of Innocence and The Deer Hunter.
Rear Window
James Stewart is the man who sees too much. "Jeff" Jeffries is a sports photographer waylaid by a broken leg, doomed to spend the summer in a wheelchair in his New York apartment. That's how he comes to witness a murder in the dead of night (or does he?).
Day of Wrath
Anna, the young second wife of a well-respected but much older pastor, falls in love with her stepson when he returns to their small seventeenth-century village. Stepping outside the bounds of the village's harsh moral code has disastrous results.