Léo le dernier

In one of the more bizarre movies I have ever seen, Mastrianni stars as a rich, but somwhat shy rich person who spends his days spying with his telescope on his black neighbours across the street and the antics they get into. When I thought this was going to be nothing but a very strange variation of Rear Window, Mastrianni soon joins their cause in fighting for better living conditions... Soon he finds out that he actually owns the buildings in the first place..

Whoa, this is a John Boorman film? I should have expected actually, because his work wildly fluctuates. I have NO idea why Marcello Mastrianni is in this movie, as he either acting for the money, or curiously oblivious as how dated this was going to look after a number of years. A curious Movie indeed.

Yes, it's a weird movie filled with 60s/70s excess & exuberance of the sort Boorman later displayed in Zardoz. But it's a fun movie if you go along for the ride. Marcello alone is worth the time spent. His English is serviceable, but Marcello's comedic skills are not limited to language. His childlike expressions & physicality are formidable. It's not Divorce, Italian Style, but it's pretty damn good.

Im writing this in the hope that someone will see it,this film takes me back to my childhood because i remember very well the making of this.We lived in Hurstway street which was in the process of being demolished, and literally all of the houses around us were being bulldozed so the taste of plaster and dry dust was always in the air, but i do digress. In our old street a load of portacabins were set up for the cast and crew and we got to know them,especially billie whitelaw who came to our house to give my brother a spirograph because he was ill. The fireworks wow that was something and the lady singing in the street my mum complained about the noise. We got free electricity from lee electrics because we knew the blokes on the generators,if you can imagine the old streets that you could play in without worry and the bombsites i was so rich as a child and i loved it because we had no material things to speak of. How exciting as a kid to watch a movie being made. chris

This bizarre drama has a terrific cast who seem to have been forced to sit through one too many viewings of Fellini Satryicon. The film looks great, thanks to Peter Suschitsky's terrific cinematography, and the film has a wonderful opening credit sequence that seems to promise great things. Alas, screenwriter-director John Boorman seems to have ingested acid as he was plotting the film, as it's all downhill from there. It's always good to see Calvin Lockhart working, and I have a soft spot for Ram John Holder and his 'Black London Blues', but Leo the Last is buried by its pacing and an absolutely horrendous score by Fred Myrow, who went on to better work in Soylent Green and the Phantasm series. One of those 60s pieces you should see if you're interested in the period. Others can safely avoid.

I totally get the reservations of some of the other reviewers, but I don't share them; I love this film, in fact it just about shades it as the John Boorman film that I would take to a desert island.

The streets in the film - Testerton (the main street which we see a lot) and Barandon, were demolished after filming and replaced by the Lancaster West Estate, and the junction of the far end of Testerton Street and Blechyden Street - seen in the background much of the time - is where Grenfell Tower now stands. Oddly, these very same streets are mentioned, disparagingly, at least twice by Colin MacInnes in 'Absolute Beginners'; and events in Blechenden Street and outside nearby Latimer Road tube station, were major factors in sparking the Notting Hill riots of the late '50s.

Interestingly, there are two other John Boorman films where a house is destroyed at the end: 'The Exorcist II - The Heretic' (1977), and 'Where The Heart Is' (1990).