![]() One role stands out among the many colorful supporting performances: that of Leslie French as Chevally, the north Italian emissary who discusses the country’s future with Prince Salina. Paolo Stoppa is excellent as Don Calogero, another tailor-made part, while Rina Morelli has some fine moments as Maria Stella, the princess, as does Romolo Valli, as Father Pirrone. Cardinale also makes a brief (veiled) appearance as her own mother. ![]() Both make the most of their roles despite a certain lack of warmth. Claudia Cardinale and Alain Delon appear ideally cast as Angelica and Tancredi. Lancaster’s Salina is an outstanding achievement, one which almost alone brings together the film’s various threads, giving it body and provoking thought. ![]() ![]() The film story, however, ends before the Prince’s death, culminating instead with the lavish Grand Ball sequence as a symbol of an era coming to its end. ![]() Director Luchino Visconti has faithfully followed the book’s main outlines, from Prince Salina’s city palazzo to the country estate, the Garibaldi interludes, and Tancredi’s gradual involvement with Angelica, the pawn in her father’s social ascent, symbolizing the changing times, society structure and manners which form the core of Lampedusa’s theme. ![]()
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