Il Gattopardo

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.

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.

Few shows get everything right. This one gets more right than wrong but there are weaknesses. The strengths: the cinematography is absolutely stunning. For six hours you can indulge in the unspoiled, sunny countryside of 19th century Sicily, one beautiful shot after another. Likewise, the costumes are beyond beautiful; someone deserves an award for their beauty and variety. And then there's the acting: most of the cast is adequate, but there are two absolutely standouts: the first is Kim Rossi Stuart, one of those actors who can convey deep emotions with just a facial expression, a twitch of the eyes, a slight curl of the mouth. But the most extraordinary performance belongs to Benedetta Procaroli. She is actually the center of the story, and without her dazzling skills, the show wouldn't have worked. And that's because of the program's weakness: it's very slow, as though everyone on the production could barely labor in the hot Sicilian summer sun. There are long intervals where nothing happens, and although it's a beautiful nothing, too much nothing is boring. This show just barely avoids that -- thanks to the acting, the scenery, the costumes.

My wife and I just watched the Netflix series and the 1963 Visconti film (available for $ on Prime), and here are our takeaways. The film holds up vey well, especially the 1983 vastly improved cut still holds up. It's a splendid example of a movie epic in the grandest style. The Netflix series is nicely updated for current sensibilities by expanding and enhancing Concetta's role in the family saga. This by no means detracts or diminishes the overarching theme of a class in decline. The novel in fact ends with Concetta as more prominent, so the series does a good job of building off that. Both are outstanding productions comparable to Gone With the Wind and well worth watching, especially for those with a fondness for family sagas.

Incidental note: Deva Cassel is well-positioned to be the next Bond Girl.

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.