Community hub
Recent from talks
Knowledge base stats:
Talk channels stats:
Members stats:
Leo the Last
Leo the Last is a 1970 British drama film co-written and directed by John Boorman, based on the play The Prince by George Tabori and starring Marcello Mastroianni, Billie Whitelaw and Calvin Lockhart.
The ennui-afflicted heir to a deposed European throne returns to his father's house in West London to find that the neighbourhood has become a slum. An ornithologist ill at ease with others, he finds his spy-glass wandering from birds to observe his neighbours. Strictly an observer at first, he increasingly becomes agitated as their lives are blighted by violence, poverty, and injustice. In particular, he is moved by the plight of young Salambo Mardi and her family, beset by the rapist shopkeeper Kowalski and the pimp Jasper.
Gradually he is stirred from his emotional detachment to try to assist her, a development that confuses, alarms, and angers his parasitic entourage: Margaret, his social climber fiancée; Max, the shady family lawyer (who for reasons never directly explained is desperate for Leo to marry Margaret); David, his quack doctor; and Laszlo, the household manager, and apparent leader of a secret society aiming to restore the dynasty. (Leo's sudden vitality also threatens Jasper the pimp who is, in fact, in league with Laszlo.)
A pacifist and liberal idealist with no interest in reigning, Leo is relieved when Laszlo confesses that the society is a fraud, but furious when he discovers that he himself is the owner of the slum and his life of wealth and privilege has been paid for from its rents.
Leo becomes the unlikeliest of revolutionaries, rallying the denizens of the slum with the aid of Salambo and her charismatic working-class hero boyfriend Roscoe. The intellectual and professional class (in the person of the socialite, the doctor, and the lawyer) is quickly overcome, but the capitalists and petite bourgeoisie (pimp, rent collector, shopkeeper, and real estate shareholders) prove tougher, fortifying themselves in Leo's mansion.
In the final cataclysm, Leo leads the mob in burning his own mansion to the ground, its occupiers surrendering and fleeing at the last moment. In the last line of dialogue, Roscoe tells Leo: "Well, you didn’t change the world, did you?” Leo replies: "No, but we changed our street". The victors laugh together and disperse. Leo wanders up to his old home and picks from the rubble one of his old spy-glasses. Smiling happily, he chucks it aside and skips merrily away.
The film was based on a play by George Tabori, who was married to actress Viveca Lindfors. She had been managed by Bob Chartoff and Irwin Winkler, who had turned into producers, and Tabori send them his script. They responded well and attached director John Boorman, with whom the producers had made Point Blank. Boorman suggested Marcello Mastroianni be cast in the lead. The film was turned down by MGM, Paramount, Universal and Columbia before being picked up by United Artists. Head of production David Picker agreed to finance even though he did not personally like the script.
Although Boorman won the award for Best Director at the 1970 Cannes Film Festival for the film, the film has not yet been made available on DVD in the UK.
Hub AI
Leo the Last AI simulator
(@Leo the Last_simulator)
Leo the Last
Leo the Last is a 1970 British drama film co-written and directed by John Boorman, based on the play The Prince by George Tabori and starring Marcello Mastroianni, Billie Whitelaw and Calvin Lockhart.
The ennui-afflicted heir to a deposed European throne returns to his father's house in West London to find that the neighbourhood has become a slum. An ornithologist ill at ease with others, he finds his spy-glass wandering from birds to observe his neighbours. Strictly an observer at first, he increasingly becomes agitated as their lives are blighted by violence, poverty, and injustice. In particular, he is moved by the plight of young Salambo Mardi and her family, beset by the rapist shopkeeper Kowalski and the pimp Jasper.
Gradually he is stirred from his emotional detachment to try to assist her, a development that confuses, alarms, and angers his parasitic entourage: Margaret, his social climber fiancée; Max, the shady family lawyer (who for reasons never directly explained is desperate for Leo to marry Margaret); David, his quack doctor; and Laszlo, the household manager, and apparent leader of a secret society aiming to restore the dynasty. (Leo's sudden vitality also threatens Jasper the pimp who is, in fact, in league with Laszlo.)
A pacifist and liberal idealist with no interest in reigning, Leo is relieved when Laszlo confesses that the society is a fraud, but furious when he discovers that he himself is the owner of the slum and his life of wealth and privilege has been paid for from its rents.
Leo becomes the unlikeliest of revolutionaries, rallying the denizens of the slum with the aid of Salambo and her charismatic working-class hero boyfriend Roscoe. The intellectual and professional class (in the person of the socialite, the doctor, and the lawyer) is quickly overcome, but the capitalists and petite bourgeoisie (pimp, rent collector, shopkeeper, and real estate shareholders) prove tougher, fortifying themselves in Leo's mansion.
In the final cataclysm, Leo leads the mob in burning his own mansion to the ground, its occupiers surrendering and fleeing at the last moment. In the last line of dialogue, Roscoe tells Leo: "Well, you didn’t change the world, did you?” Leo replies: "No, but we changed our street". The victors laugh together and disperse. Leo wanders up to his old home and picks from the rubble one of his old spy-glasses. Smiling happily, he chucks it aside and skips merrily away.
The film was based on a play by George Tabori, who was married to actress Viveca Lindfors. She had been managed by Bob Chartoff and Irwin Winkler, who had turned into producers, and Tabori send them his script. They responded well and attached director John Boorman, with whom the producers had made Point Blank. Boorman suggested Marcello Mastroianni be cast in the lead. The film was turned down by MGM, Paramount, Universal and Columbia before being picked up by United Artists. Head of production David Picker agreed to finance even though he did not personally like the script.
Although Boorman won the award for Best Director at the 1970 Cannes Film Festival for the film, the film has not yet been made available on DVD in the UK.