Gruppo di famiglia in un interno

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.

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.

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.

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."

Luchino Visconti, ailing and partially paralyzed by a stroke a year or two before, managed to finish 'Conversation Piece' (the Italian title to me seems better -- 'A conversation inside a family). He called upon Burt Lancaster to play his protagonist, the retired American professor who has withdrawn from the world, devoting his hours to his passion of minor English 18 and 19 century art and to his books, in Rome. We see not the energetic hero of 'The Leopard', but a tired older man without qualities, in a well ordered arrangement of taste for tradition and patterns and philosophical musing. And his apartment is the embodiment of that world that is not only antiquated but which time has passed by. His is a bourgeois order that belongs in history books or literature. And into his quiet world burst with great energy is the modern temperament of a dysfunctional family of the upper class, filthy with money and decadent. The beautiful Sylvana Mangano is the marchesa who finagles the professor to rent a vacant apartment above his museum like apartment with its stuffy furniture, it corridors brimming with portraits of bucolic scenes from the English gentry or great men and family, It is in a sense as musty and locked away as the long f=vacant apartment he lets for the marchesa's kept German lover Conrad (Visocnti's own lover Helmut Berger), as well as her daughter and friend. And suddenly, the upper floor is transformed, as a contrast, with a modernism that is loud and vulgar and in stark contrast to the professor's mausoleum, as he quietly awaits death, as much as he values his solitude and the silence of his own carthusian-like order. The marchesa is temperamental, demanding and will have her way with her rent lover, if he doesn't slip through her greedy grasp. The professor's world is turned upside down, as he is drawn into this world of his madcap tenants. As such, images of his mother (Dominique Sanda) and his wife (Claudia Cardinale) in brief scenes bring him back to the world he has shunned. And with a turn of the wrist, Visconti has hooked up the older bourgeois order to the new one, but his professor remains aloof until it is too late. For, despite his reluctance, the marchesa, her daughter, her daughter's friend and mercurial Conrad, a refugee from the turbulent 1960 radicalism, in the professor's mind have become his 'adopted' family; yet, the professor maintains his value free mind and refused to become engaged and with responsibility, until the tragic end. And then you have to wonder. Somehow, 'Conversation Piece' sets off bells in our minds today: its vulgar display of money, the absence of responsibility, the money cultural of a decadent capitalist class. Visconti with a year or so from his own death still had a vision of his own class and its failure to live up to values it espoused. It won't please everyone's taste, but it is worth seeing for the curious.