Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom ... See full summary »

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(libretto), (collaboration) | 4 more credits »
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Nominated for 2 BAFTA Film Awards. Another 4 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
John Macurdy ...
Edda Moser ...
Kiri Te Kanawa ...
Kenneth Riegel ...
José van Dam ...
Teresa Berganza ...
Malcolm King ...
Eric Adjani ...
A Valet in Black
Roberto Del Lago
Sandro Dal Pra
Cristina Fondi
Patrizia Murari
Cristina Nizzero
Simonetta Noce
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Storyline

Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinious improprieties. He will not change his ways So, he is sucked down into hell by evil spirits. High drama, hysterical comedy, magnificent music! Written by <frankpat@ix.netcom.com>

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Drama | Music

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Release Date:

16 March 1980 (West Germany)  »

Also Known As:

Mozart's Don Giovanni  »

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Box Office

Budget:

$7,000,000 (estimated)
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Aspect Ratio:

1.66 : 1
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Trivia

Wolfgang Amadeus Mozart's opera 'Don Giovanni' was first performed in 1787. It first premiered on 29 October 1787 at the Estates Theatre in Prague, Czech Republic. See more »

Connections

Version of Don Giovanni (1916) See more »

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User Reviews

 
Beautifully crafted film version
28 January 2006 | by (London, UK) – See all my reviews

An inspired, if occasionally peculiar production, shot on location with a terrific cast. Raimondi's Don is an extraordinary conflagration of deceit and sexual magnetism, tourettish violence and charm; I watch the film assuming he's going to get away with everything (I once worked with a girl who had learnt the entire libretto in Italin from repeated viewings of this film alone at the age of 8, despite not speaking the language. She was reasonably addicted to the anti-hero).

Losey undermines expectations though setting the opera in a (period) rural estate with the principals operating with urbane sensibility. Nothing is quite what it seems and the supernatural forces that begin to take hold are far from unexpected.

Far from killing the operatic experience (as films are prone to do), Losey's film manages to set the drama free. Absorbing if not as menacing as its potential. 6/10


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