Directed by | |||
| Luchino Visconti | |||
Writing credits | ||
| Giuseppe Tomasi di Lampedusa | (novel) | |
| Suso Cecchi D'Amico | (screenplay and adaptation) & | |
| Pasquale Festa Campanile | (screenplay and adaptation) and | |
| Enrico Medioli | (screenplay and adaptation) & | |
| Massimo Franciosa | (screenplay and adaptation) and | |
| Luchino Visconti | (screenplay and adaptation) | |
Produced by | |||
| Goffredo Lombardo | .... | producer | |
| Pietro Notarianni | .... | executive producer | |
Original Music by | |||
| Nino Rota | |||
Cinematography by | |||
| Giuseppe Rotunno | |||
Film Editing by | |||
| Mario Serandrei | |||
Production Design by | |||
| Mario Garbuglia | |||
Set Decoration by | |||
| Laudomia Hercolani | |||
| Giorgio Pes | |||
Costume Design by | |||
| Piero Tosi | |||
Makeup Department | |||
| Maria Angelini | .... | wig maker | |
| Alberto De Rossi | .... | makeup artist | |
| Amalia Paoletti | .... | wig maker | |
| Giancarlo De Leonardis | .... | hair stylist (uncredited) | |
| Robert J. Schiffer | .... | makeup artist (uncredited) | |
Production Management | |||
| Giorgio Adriani | .... | production manager | |
| Gaetano Amata | .... | unit manager | |
| Riccardo Caneva | .... | unit manager | |
| Roberto Cocco | .... | unit manager | |
| Lamberto Pippia | .... | assistant unit manager | |
| Enzo Provenzale | .... | production manager | |
| Umberto Sambuco | .... | assistant unit manager | |
| Bruno Sassaroli | .... | unit manager | |
| Gilberto Scarpellini | .... | unit manager | |
Art Department | |||
| Emilio D'Andria | .... | assistant set decorator | |
| Ferdinando Giovannoni | .... | assistant art director | |
Sound Department | |||
| Mario Messina | .... | sound engineer | |
Special Effects by | |||
| Dino Galiano | .... | special effects technician (uncredited) | |
Camera and Electrical Department | |||
| Enrico Cignitti | .... | camera operator | |
| Nino Cristiani | .... | camera operator | |
| Giuseppe Maccari | .... | camera operator | |
| G.B. Poletto | .... | still photographer | |
| Bob Penn | .... | still photographer: special magazine assignment (uncredited) | |
| Piero Servo | .... | camera loader (uncredited) | |
Costume and Wardrobe Department | |||
| Bice Brichetto | .... | assistant costume designer | |
| Alessandro Gasparinetti | .... | wardrobe consultant | |
| Vera Marzot | .... | assistant costume designer | |
Music Department | |||
| Franco Ferrara | .... | conductor | |
| Franco Ferrara | .... | musical director | |
| Nino Rota | .... | music arranger (uncredited) | |
Other crew | |||
| Stephan Iscovescu | .... | script supervisor | |
| René Barjavel | .... | dialogue: french version (uncredited) | |
| Isa Bellini | .... | voice dubbing: Anna Maria Bottini (uncredited) | |
| Lando Buzzanca | .... | voice dubbing: Serge Reggiani (uncredited) | |
| Pino Colizzi | .... | voice dubbing: Pierre Clémenti (uncredited) | |
| Solveyg D'Assunta | .... | voice dubbing: Claudia Cardinale (uncredited) | |
| Franco Fabrizi | .... | voice dubbing: Terence Hill (uncredited) | |
| Corrado Gaipa | .... | voice dubbing: Burt Lancaster (uncredited) | |
| Sydney Pollack | .... | dubbed version supervisor: USA (uncredited) | |
| Carlo Sabatini | .... | voice dubbing: Alain Delon (uncredited) | |
| Alberto Testa | .... | choreographer (uncredited) | |
| Jacques Willemetz | .... | dubbing director: french version (uncredited) | |
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| The Deluge | Solomon and Sheba | Gettysburg | Let Joy Reign Supreme | Juarez |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Italy section |
Could it be that Visconti's 1963 epic--long lying in ruins until its 1983 partial restoration--is the greatest movie ever made? The real subject of this movie, surely the wisest and most beautiful of all "period pictures," is the twentieth century--what has been gained and above all what is lost. Only a Marxist duke like Visconti could have had the split sensibility, and the anecdotal knowhow, to render Sicily just before its entry to modernity with the splendor and the caginess that radiates through every frame of this masterpiece. As the prince making final compromises before leaving the faded world he has inherited, Burt Lancaster gives one of the greatest performances in movies. Possessed of both an elegiac melancholy and a shrewd, dry-eyed appraisal of the failures and the glorious extroversion of its aristocratic world, THE LEOPARD is like a dream you can't bear to let go of. Contemporary viewers will see echoes of THE DEER HUNTER, 1900 and THE AGE OF INNOCENCE--and will see those films shrivel to the size of cocktail franks.