{"id":755,"date":"2024-06-25T07:51:51","date_gmt":"2024-06-25T05:51:51","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=755"},"modified":"2024-06-28T13:47:15","modified_gmt":"2024-06-28T11:47:15","slug":"guepard-le-luchino-visconti-1963","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=755","title":{"rendered":"Gu\u00e9pard (Le), Luchino Visconti, 1963"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Le Gue\u0301pard Luchino Visconti - Cin\u00e9ma Orson Welles\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/SkzYT8mvvzU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Luchino Visconti, Burt Lancaster, Alain Delon, Claudia Cardinale, drame historique, Palerme<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">villa, palais, r\u00e9sidence d&rsquo;\u00e9t\u00e9, place, \u00e9glise, patrimoine, monument, village, salle de r\u00e9ception<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"575\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/fbeaa703501d2a44f7b25cd936ba8406-le-guepard-drame-historique-programme-tv-1024x575.webp\" alt=\"\" class=\"wp-image-812 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/fbeaa703501d2a44f7b25cd936ba8406-le-guepard-drame-historique-programme-tv-1024x575.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/fbeaa703501d2a44f7b25cd936ba8406-le-guepard-drame-historique-programme-tv-300x169.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/fbeaa703501d2a44f7b25cd936ba8406-le-guepard-drame-historique-programme-tv-150x84.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/fbeaa703501d2a44f7b25cd936ba8406-le-guepard-drame-historique-programme-tv-jpg.webp 1260w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>(d&rsquo;apr\u00e8s wikip\u00e9dia)<\/em><\/p>\n\n\n\n<p>En mai 1860, apr\u00e8s le <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Exp%C3%A9dition_des_Mille\">d\u00e9barquement de Garibaldi en Sicile<\/a>, \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Marsala\">Marsala<\/a>, Don Fabrizio Salina assiste avec d\u00e9tachement et m\u00e9lancolie au d\u00e9clin de la <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Noblesse\">noblesse<\/a>. Ces <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Gentilshomme\">gentilshommes<\/a>, les \u00ab\u00a0gu\u00e9pards\u00a0\u00bb, comprennent que la fin de leur sup\u00e9riorit\u00e9 morale et sociale est d\u00e9sormais proche\u00a0: en fait, ceux qui profitent de la nouvelle situation politique sont les administrateurs et grands propri\u00e9taires terriens de la nouvelle classe sociale qui monte. Don Fabrizio, appartenant \u00e0 une famille de noblesse ancienne, est rassur\u00e9 par son neveu pr\u00e9f\u00e9r\u00e9 Tancr\u00e8de, qui, bien que combattant dans les <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Corps_des_volontaires_italiens\">colonnes garibaldiennes<\/a>, cherche \u00e0 faire tourner les \u00e9v\u00e9nements \u00e0 son avantage.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Tancr\u00e8de explique \u00e0 son oncle&nbsp;:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u00ab&nbsp;Si nous ne nous m\u00ealons pas de cette affaire, ils vont nous fabriquer une r\u00e9publique. Si nous voulons que tout reste pareil, il faut que nous changions tout.&nbsp;\u00bb<\/p>\n<\/blockquote>\n\n\n\n<p>Lorsque, comme chaque ann\u00e9e, le prince Salina se rend, avec toute sa famille, dans sa r\u00e9sidence d&rsquo;\u00e9t\u00e9 de Donnafugata, il trouve comme nouveau maire du village Calogero Sedara, bourgeois d&rsquo;extraction modeste, fruste et peu instruit, qui s&rsquo;est enrichi et a fait carri\u00e8re en politique. Tancr\u00e8de, qui avait au d\u00e9but montr\u00e9 un certain int\u00e9r\u00eat pour Concetta, fille a\u00een\u00e9e du prince, tombe amoureux d&rsquo;Angelica, fille de don Calogero, qu&rsquo;il \u00e9pousera finalement, s\u00e9duit par sa beaut\u00e9 mais aussi par son patrimoine consid\u00e9rable.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/94126481-1024x576.webp\" alt=\"\" class=\"wp-image-813 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/94126481-1024x576.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/94126481-300x169.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/94126481-150x84.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/94126481.webp 1440w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"734\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/gattopardo-terrace-and-reading-1024x734.webp\" alt=\"\" class=\"wp-image-814 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/gattopardo-terrace-and-reading-1024x734.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/gattopardo-terrace-and-reading-300x215.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/gattopardo-terrace-and-reading-150x108.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/gattopardo-terrace-and-reading-jpg.webp 1216w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>L&rsquo;arriv\u00e9e \u00e0 Donnafugata d&rsquo;un fonctionnaire <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Pi%C3%A9mont\">pi\u00e9montais<\/a>, le cavaliere Chevalley di Monterzuolo, marque un tournant dans le r\u00e9cit. Il propose \u00e0 Don Fabrizio d&rsquo;\u00eatre nomm\u00e9 s\u00e9nateur du nouveau <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Royaume_d%27Italie_(1861-1946)\">Royaume d&rsquo;Italie<\/a>. Pourtant, le prince refuse, se sentant trop li\u00e9 au vieux monde sicilien. Reflet de la r\u00e9alit\u00e9 sicilienne, Don Fabrizio est pessimiste&nbsp;: \u00ab&nbsp;Ensuite, ce sera diff\u00e9rent, peut-\u00eatre pire\u2026&nbsp;\u00bb, d\u00e9clare-t-il \u00e0 l&rsquo;\u00e9missaire du nouveau r\u00e9gime.<\/p>\n\n\n\n<p>L&rsquo;union entre la nouvelle bourgeoisie et la noblesse d\u00e9clinante est un changement d\u00e9sormais incontestable. Don Fabrizio en aura la confirmation au cours d&rsquo;un bal grandiose \u00e0 la fin duquel il commencera \u00e0 m\u00e9diter sur la signification des \u00e9v\u00e9nements nouveaux et \u00e0 faire le douloureux bilan de sa vie.<sup><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Gar%C3%A7onni%C3%A8re_(film,_1960)#cite_note-Crowe_56-8\"><\/a><\/sup><\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Extrait du film<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Le Guepard (1963) - La Valse\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/IB0PXWHD61M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Luchino Visconti, Burt Lancaster, Alain Delon, Claudia Cardinale, drame historique, Palerme villa, palais, r\u00e9sidence d&rsquo;\u00e9t\u00e9, place, \u00e9glise, patrimoine, monument, village, salle de r\u00e9ception _ R\u00e9sum\u00e9 (d&rsquo;apr\u00e8s wikip\u00e9dia) En mai 1860, apr\u00e8s le d\u00e9barquement de Garibaldi en Sicile, \u00e0 Marsala, Don Fabrizio Salina assiste avec d\u00e9tachement et m\u00e9lancolie au d\u00e9clin &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=755\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0Gu\u00e9pard (Le), Luchino Visconti, 1963\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-755","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/755","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=755"}],"version-history":[{"count":5,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/755\/revisions"}],"predecessor-version":[{"id":815,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/755\/revisions\/815"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=755"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=755"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}