Scripted

The debut of Il Gattopardo (The Leopard) on Netflix in early March has been one of the most discussed premieres of the season. At FormatBiz, we are always on the lookout for compelling adaptations of iconic stories, and The Leopard—based on Giuseppe Tomasi di Lampedusa’s  novel—certainly demanded our attention.

Having read the novel and admired Luchino Visconti’s 1963 film adaptation, starring Burt Lancaster, Alain Delon, and Claudia Cardinale, I initially approached the series with a mix of curiosity and skepticism. Could this new six-episode production match the grandeur of its predecessors? Rather than draw comparisons, I chose to view the series as a fresh, independent interpretation of one of Italy’s greatest literary masterpieces. This approach proved essential to appreciating its unique vision.

The first two episodes (directed by Tom Shankland)  were difficult to engage with. The cinematography felt unorthodox, dominated by an overwhelming green palette—emerging not only from landscapes but also from costumes and set design, including dining scenes that appeared oddly artificial. Additionally, I struggled with the initial performances, particularly those of Concetta (Benedetta Porcaroli) and Tancredi (Saul Nanni), and found the editing choices and framing to be somewhat jarring. However, Kim Rossi Stuart delivered a convincing portrayal of Don Fabrizio Corbera, which kept me intrigued, along with the strong presence of the priest character (Paolo Calabresi) accompanying him.

Then, something shifted. From the third episode onward (episode 3 directed by Tom Shankland,  ep. 4 by Giuseppe Capotondi, 5 ep. by Laura Luchetti) the series found its rhythm. Tancredi and Concetta’s portrayals improved, and the director’s choices became more compelling. By the time I reached the final episodes, I was fully immersed in this new interpretation of The Leopard. Watching the entire series over a weekend, I was left with a deep appreciation for its artistic merit. More importantly, it rekindled my desire to revisit the novel and delve deeper into the history of Italy’s unification, exploring Sicily’s complex legacy—from the rise of mafia power to political corruption.

Ultimately, I recommend The Leopard to both longtime fans of the story and new audiences alike. This is an adaptation that invites discussion and analysis, proving that classic literature can still be reinterpreted in fresh and thought-provoking ways. In conclusion, I can say that this is a beautiful series—one to watch in a single breath, without making comparisons, but simply letting yourself be carried away by the atmosphere of Il Gattopardo. Kim Rossi Stuart once again proves to be a talented actor, and in the end, even Concetta and Tancredi succeeded in their endeavor. I truly liked this series and highly recommend it.

Netflix’s The Leopard is a six-episode series that reimagines Lampedusa’s classic novel for a modern audience. The story is set in the 19th century, when Italy was changing under the Unification and Giuseppe Garibaldi's Redshirt army were conquering Sicily. The novel chronicles that period throught the story of one of the most prestigious Sicilian Aristocratic Family, led by The Prince of Salina.  Produced by Fabrizio Donvito, Daniel Campos Pavoncelli, Marco Cohen, Benedetto Habib, and Alessandro Mascheroni for Indiana Production, alongside Will Gould and Frith Tiplady for Moonage Pictures, the series was filmed in evocative locations including Palermo, Syracuse, Catania, and Rome.