Prince Leo, last in the line of rulers of a long-deposed monarchy on continental Europe and jaded with the frenetic search for kicks with the European jet-set, returns to his father's ... See full summary »
Prince Leo, last in the line of rulers of a long-deposed monarchy on continental Europe and jaded with the frenetic search for kicks with the European jet-set, returns to his father's London town house for rest. With him are social-climber Margaret, to whom he is engaged, and Laszlo, who is planning a counter revolution which will restore Leo to the kingship of the monarchy. Leo is shocked to discover the one exclusive neighborhood has degenerated into a ghetto inhabited mainly by poor blacks on the brink of desperation. His nearest neighbors are the Mardi family and their beautiful daughter, Salambo, who catches his eye as does her boy friend the procurer Roscoe. Using the excuse of watching birds he watches them closely through field glasses with the coolness and detachment of a scientist watching insects under a magnifying glass. When Salambo is forced to become a whore in order to keep her family together, Leo, despite the pleadings of Margaret and Laszlo who has just about ... Written by
Les Adams <email@example.com>
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.
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