Οικογενειακό γκρουπ σε εσωτερικό χώρο

pirateneckbeard4.0

So the cover I feel is a misnomer. Not that there isn't a chess match but really that everyone is a pawn trying to find comfort, so let me dig into this spoiler free material. So it starts off as "The Professor"(Burt Lancaster) being sold a farm family painting of his interest but clearly states he can't afford only to have a woman barge in and ask to rent her the apartment upstairs which he reluctantly agrees and ensues alterations to the space and Marchesa Bianca Brumonti(Silvana Mangano) planting her boy toy Konrad Huebel(Helmut Berger) who is equally overbearing yet charming, then enter into this circus ring Lietta Brumonti(Claudia Marsani) the daughter and her boyfriend Stefano(Stefano Patrizi) and this just feels like a hot mess. The weird thing is on page this shouldn't work for me at all cause so many terrible people that I don't understand why The Professor deals with them and slowly you get this strange attraction and dynamic in this play like film. This shouldn't be my jam but I think Burt Lancaster and Helmut Berger's performances had me spell bound especially in this dark enriched with art apartment that I was captivated with what was going to happen next. Definitely a film that is worthy of having a cup a tea with film friends and spilling the tea over or just having a conversation piece on letterboxd with like minded friends.

theriverjordan4.0

Luchino Visconti’s “Conversation Piece” reduces humans to trinkets of either desire - or obsolescences to be cast off into the abyss. Objectification is, though, the most self-protective choice - when love leads only to certain degradation. Directed by the Italian count from a wheel chair after he had suffered a near fatal heart attack, “Conversation” is a frustrated outcry of affections never allowed to exist. Once again starring Visconti’s own paramour, Helmut Berger - alongside “Leopard” collaborator Burt Lancaster, “Piece” depicts the lustful generational clash between an aged science professor and a young trio of wanton aristocrats that move in above him. Here - Berger is at last allowed to rage against the persecuting inequities of his time. As an erudite bisexual debtor, the ruin of Berger’s character permits the actor to drop the restrictive veil of his earlier roles as “Ludwig’s” monarch and “The Damned’s” young heir led into Nazi manipulation. Without burden of pretense - Berger can now employ all emotion to convey the deep loss from a lifetime of forced repression. For Lancaster’s part, he is largely reprising his “Leopard” role, though beginning from musty dignity, rather than nobility. He is not so much watching a fall, as he is witnessing the most vibrant examples of youth wantonly discard one another. Without passion or love - self-destruction turns into the last act of true emotion that is permitted.

Dante5.0

at varying points this is like a cerebral visualization of Visconti's own bisexuality, a scathing critique of Italian fascism (and fascism in general), and an episode of Frasier