Gewalt und Leidenschaft

Luchino Visconti co-wrote and also directed this from a wheel chair, after his first heart attack. The movie reminds me of playwright Henrik Ibsens style. Indeed this is very much like a play. All the action taking place in a retired Professors (Burt Lancaster) plush house in Rome. When a brash young group of mis-fits rent a room upstairs ..the Professors sedate life changes completely. The subtext is vital here, and more than one viewing is recommended. The professor has long given up on communication between humans, and the clash of the old and the new makes him even more certain. Its a brilliant piece of work--although the sound track which was added later is sometimes annoying. Lancaster is great --indeed all of the main players do a wonderful job. Visconti is credited for ushering in the neo-realist cinema. Later he departed from this style and became more melodramatic--with intense character development. This movie is from his later style.

From disrespect without size, from total inelegance, apart from the unreasonable aggression of the gigolo, drug addict and leftist, and the jet set fell on the floor, that renovation in a (centenary) property that was extremely unpleasant... However, what follows is exquisite, a beautiful ménage à trois, poetic even, in the final rites a debate that is valid for every film, social criticism, social inequalities, and politics, questioning Franco's tyranny, a melancholic and exquisite outcome, adorable... "The character of the teacher played by Burt Lancaster is openly inspired by the figure of Mario Praz." "The role of Marquise Bianca Brumonti was initially proposed by the director to Audrey Hepburn, who refused to declare that she did not want to link her name to a murky and immoral role like that." "People get married to form a family, and divorce to get rid of it. - And get married again. - No! To be free."

This is Luchino Visconti's first feature film after his almost fatal heart attack. He was in a wheel chair and his left side was completely paralyzed. Enrico Medioli's original story about a man who's facing the end of his life, whether consciously or unconsciously seemed very close to the knuckle. I've read a lot of material and talked to people connected to the production before actually seeing the movie. Nothing had prepared me for what the film presents to the audience and I wondered if the film that ended up on the screen was the film that Visconti intended. Starting from the cast: the first rumors that Visconti was ready to go back to work, announced the film with Laurence Olivier and Audrey Hepburn in the roles that went to Burt Lancaster and Silvana Mangano. Anne Marie Philipe and Martin Donovan (the director) in the roles that went to Claudia Marsani and Stefano Patrizi. For what I gather, Olivier was sick at the time and couldn't accept. Audrey Hepburn turned it down, Donovan and Philipe found themselves outside the co-production regulations where two Italian nationals were required for those roles. Helmut Berger was the one who survived all the changes and I'm tempted to say: unfortunately! His character is the one who doesn't ring true. Clearly, Lancaster's character would have seen through Berger's. There is nothing in his character that made me believe Lancaster would feel attracted and fall for. Berger is a prissy, emotionally flabby, pretty boy. He is also unbelievable as Silvana Mangano's lover. The film as a whole takes place in Lancaster's dark and elegant apartment. Against his better judgment he rents the upper floor to this new, rich, beautiful and vulgar family. His world is going to start to collapse under the weight of the young invaders without soul. Solemmn, sad and a bit static the film however has a masterful center that makes it compelling viewing. Two brief cameos by Dominique Sanda as the mother and Claudia Cardinale as the dead wife bring some unexpected oomph to the grim proceedings. Even if I sound a bit down on the film I'm actually recommending it.

Professor Lancaster leads a reclusive life in his art deco apartment, surrounded by classical paintings, books and memories. Along come new loud tenants who rent his upstairs apartment and force themselves onto the Professor who then questions his existence as a mixture of the old and new culture clash in intellectual wars and morals. Another interesting piece from Visconti's preoccupied topics of fallen aristocrats and the morality of life.

Conversation Piece is a very important film to me for two reasons, firstly it's very easy for me to identify with "The Professor" (Burt Lancaster's character is never referred to by any other name), and if a film has the same purpose as Franz Kafka said a book has, to be "the axe for the frozen sea within us", then this film is an axe for me. Secondly it's a fascinating experiment, what we have here, in the isolation of a chamber piece, is an entire wealthy family, but we never see the far right industrialist patriarch. What we get instead is a kindly old man transplanted in his stead. It's really beautiful, the effect that has.

The movie takes place in the home of a retired professor, who shuts himself away from the masses to concentrate on art appreciation, rejecting the world in favour of his imagination and the imagination of others. Like the professor I withdrew from science after completing advanced studies due to a suspicion that it was not a liberating force. I have also surrounded myself alone with beautiful things, with music, with pictures, and with art, in an apartment in the sky; I am twenty years his younger and on his path. We shared the same perception, the public is a flock of crows, and you cannot change that, you dismay has no power, any actual positive change so rare as to be written down to fluke or accident of an evolving economy. Many choose to become crows.

A great creative choice is to use Burt Lancaster as the actor, to make the Professor someone physically attractive, so the audience doesn't cop out with, "this man is alone because of his looks". There is also the risk that we say, "he is from another, better time". In fact I think men of sensitivity and ethics have found public life impossible for millennia, and have often withdrawn into eyries (I say men because men have usually been the ones to be in the financial position to achieve solitude, as well as being under less pressure to end it). In fairness there is some sense of the contemporary to the movie, as it takes place during the so-called Years of Lead when political assassination became normalized.

The professor's home is invaded by a vibrant and spontaneous gaggle of an extended family, sans patriarch. Despite the unhappiness they bring, he also realizes too late the value in being part of the lives of others. There is also the sadness that a man such as himself is seen as a great father but not as a great sire. Evolution's trick on us that these are not the same thing.

I say, with some considerable irony, that Conversation piece is another of those movies that gives men a glimpse of what it would be like to be in love with a brilliant woman. Just as we know what it's like to kiss Grace Kelly from Rear Window, Conversation Piece shows what it's like to marry Claudia Cardinale. Irony, because voyeurism and abstraction is what has imprisoned the Professor, something he finds out all too late.

Like another great Italian chamber piece (Ettore Scola's "A Special Day"), this movie has the power to lift us out of the river of time, and to reflect sacred truths. The trouble it stirs up inside me is a precious type, and I hope I will live with this movie and use it to be happier, either that or I will stand condemned by it.