El gatopardo

Based on Giuseppe Tomasi di Lampedusas's novel, The Leopard, Italy's War and Peace, the series details the revolution led by Giuseppe Garibaldi, beginning in 1860, which led, eventually, to the unification of Italy. It betters Visconti's 1963 film adaptation in many ways, not least in using genuine Italian actors instead of glamorous Hollywood stars like Burt Lancaster and Alain Delon-who were dubbed and Claudia Cardinale who had no need to be. The sets are fabulous because they're actual "pallazzi", Sicilian palaces, packed with the art of the times. There's romance, intrigue, politics and religion, what more could you ask for.

I just read the book recently and the movie is just as beautiful. Nobody does it like the Italians. If you're a real fan of theater as an art form and film as a life-changing world enhancing experience then you should definitely see the leopard. Cinematography is absolutely stunning. What a beautiful period piece ; costumes magical, This is a stunningly visually crafted masterpiece of a series. But you have to watch it in Italian. Thank you, Netflix. The acting is incredible and spiritually enhancing with a handsomely beautiful cast. Enjoyable to watch. A lesson in history about Sicily. Lovely to see Sicily. Recommend.

Many don't know that Italy was united very late in history and that unification came with tremendous upheaval. I have read that Don Fabrizio was based on Lampedusa's own grandfather. You may not sympathize with the privileged life depicted here but Don Fabrizio is an amazing character -- entitled and flawed, yes, but also prescient, indomitable, resilient, shrewd, loving, pragmatic, and, in his own way, principled. Note the importance of the Church in the story -- Catholicism vs. Secularism was part of the conflict, especially since some Italian states were Papal states well into the 19th century. Also, the contrast between northern Italy, represented by the new government and Concetta's suitor, versus the culture of the South, is an important element, as well as the eternal class struggle. The production is visually beautiful too. I recommend reading the novel by Lampedusa and streaming the Luchino Visconti film with Burt Lancaster as well. Decide for yourself which is best -- for me, they all complement each other. So glad this great story is getting a new audience.

The first temptation is , after the six episodes, to be very critic about this series.

But two excuses : it is a Netflix series for Netflix public. So, you know what can expect.

The second - the care for atmosphere, clothes and details. Indeed, this works as excuse for not brilliant historical films but , in this case, saves just a lot.

For acting - two names - Benedetta Porcaroli, Astrid Meloni, not ignoring the effort of Saul Nanni . Sure, subjective options.

The big problem , for me, was Kim Rossi Stuart. Behind see the first trailer, I considerated him too young for the role of Don Fabrizio Salina. After the first three episodes , I accepted a version like western character more than a Sicilian aristocrat. But he tries to propose his The Leopard, nod very faithful, for vulgar- brutal- cynical nuances by the hero of novel.

In fact, for many scenes, the book seems more an pretext, maybe an inspired option being for title The days of Concetta. The big sin - absence of nuances, reflected, in fair manner , by the version of Luchino Visconti.

Deva Cassel begins well and, the last episodes, becomes a beautiful doll.

But , sure, long time, I dreamed about a version in which Don Fabrizio was Alain Delon , the only , for me, with experience to explore, in wise manner, the role.

Sure, more than good intentions . And, maybe, after decades, possible in a 2058, at a century after publishing, another, better series inspired by this masterpiece.

Appreciation to Netflix for idea and for the kick to read ( again ) the novel writen by Giuseppe Tomasi di Lampedusa.

You do keep watching it, so it does engage one's interest, but those viewers who then read the book to the end will be wondering; where's the rest of it?

The small compact story loaded with detail has been expanded into a family and political epic. Many of the additions are good and add suspense, but the further we get from the source material, something is lost. Conchetta becomes the central character. The final episode was overlong , optimistic and unsatisfactorily missed the dual dumping of aristocracy and religious relics.

One can only imagine that episode was the result of an almighty clash between artistic integrity and 'money men' 's idea of a popular ending; and the money men won.

So, something different to Visconte/Lancaster/Cardinale production of 1963.