It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Although it has its amusing moments, in eneral the plot does not convince.

This film is so real. It treats its characters with so much care and sensitivity.

By the time the dramatic fireworks start popping off, each one feels earned.

Possibly due to illness of director Luchino Visconti, but Conversation Piece no way is up there with other of his work that I've seen like The Leopard, The Damned, and Death In Venice. It was interesting to learn how star Burt Lancaster's contract called for him to step in and direct if Visconti wasn't up to it.Lancaster plays an American classics professor, retired living a well ordered existence among paintings and books and other such Conversation Pieces. But his palazzo which looks like a museum has a big upkeep and he's hammerlocked into renting his top floor to a rather course and vulgar widow Silvana Mangano and her daughter Claudia Marsini. Marsini comes along with boyfriend Stefano Patrizzi and Mangano has tagging along after her boy toy Helmut Berger.The subject of Conversation Piece is decadence, a topic that Visconti loved to make movies about. Still those other films I cited really showed it well. Conversation Piece was aptly named as what we did in a beautiful setting is talk about it. Helmut Berger has the most interesting part and he springs quite a surprise on Lancaster toward the end of the film.Conversation Piece is a beautifully photographed film, but quite static.

Luchino Visconti, ailing and partially paralyzed by a stroke a year or two before, managed to finish 'Conversation Piece' (the Italian title to me seems better -- 'A conversation inside a family). He called upon Burt Lancaster to play his protagonist, the retired American professor who has withdrawn from the world, devoting his hours to his passion of minor English 18 and 19 century art and to his books, in Rome. We see not the energetic hero of 'The Leopard', but a tired older man without qualities, in a well ordered arrangement of taste for tradition and patterns and philosophical musing. And his apartment is the embodiment of that world that is not only antiquated but which time has passed by. His is a bourgeois order that belongs in history books or literature. And into his quiet world burst with great energy is the modern temperament of a dysfunctional family of the upper class, filthy with money and decadent. The beautiful Sylvana Mangano is the marchesa who finagles the professor to rent a vacant apartment above his museum like apartment with its stuffy furniture, it corridors brimming with portraits of bucolic scenes from the English gentry or great men and family, It is in a sense as musty and locked away as the long f=vacant apartment he lets for the marchesa's kept German lover Conrad (Visocnti's own lover Helmut Berger), as well as her daughter and friend. And suddenly, the upper floor is transformed, as a contrast, with a modernism that is loud and vulgar and in stark contrast to the professor's mausoleum, as he quietly awaits death, as much as he values his solitude and the silence of his own carthusian-like order. The marchesa is temperamental, demanding and will have her way with her rent lover, if he doesn't slip through her greedy grasp. The professor's world is turned upside down, as he is drawn into this world of his madcap tenants. As such, images of his mother (Dominique Sanda) and his wife (Claudia Cardinale) in brief scenes bring him back to the world he has shunned. And with a turn of the wrist, Visconti has hooked up the older bourgeois order to the new one, but his professor remains aloof until it is too late. For, despite his reluctance, the marchesa, her daughter, her daughter's friend and mercurial Conrad, a refugee from the turbulent 1960 radicalism, in the professor's mind have become his 'adopted' family; yet, the professor maintains his value free mind and refused to become engaged and with responsibility, until the tragic end. And then you have to wonder. Somehow, 'Conversation Piece' sets off bells in our minds today: its vulgar display of money, the absence of responsibility, the money cultural of a decadent capitalist class. Visconti with a year or so from his own death still had a vision of his own class and its failure to live up to values it espoused. It won't please everyone's taste, but it is worth seeing for the curious.

This is Luchino Visconti's first feature film after his almost fatal heart attack. He was in a wheel chair and his left side was completely paralyzed. Enrico Medioli's original story about a man who's facing the end of his life, whether consciously or unconsciously seemed very close to the knuckle. I've read a lot of material and talked to people connected to the production before actually seeing the movie. Nothing had prepared me for what the film presents to the audience and I wondered if the film that ended up on the screen was the film that Visconti intended. Starting from the cast: the first rumors that Visconti was ready to go back to work, announced the film with Laurence Olivier and Audrey Hepburn in the roles that went to Burt Lancaster and Silvana Mangano. Anne Marie Philipe and Martin Donovan (the director) in the roles that went to Claudia Marsani and Stefano Patrizi. For what I gather, Olivier was sick at the time and couldn't accept. Audrey Hepburn turned it down, Donovan and Philipe found themselves outside the co-production regulations where two Italian nationals were required for those roles. Helmut Berger was the one who survived all the changes and I'm tempted to say: unfortunately! His character is the one who doesn't ring true. Clearly, Lancaster's character would have seen through Berger's. There is nothing in his character that made me believe Lancaster would feel attracted and fall for. Berger is a prissy, emotionally flabby, pretty boy. He is also unbelievable as Silvana Mangano's lover. The film as a whole takes place in Lancaster's dark and elegant apartment. Against his better judgment he rents the upper floor to this new, rich, beautiful and vulgar family. His world is going to start to collapse under the weight of the young invaders without soul. Solemmn, sad and a bit static the film however has a masterful center that makes it compelling viewing. Two brief cameos by Dominique Sanda as the mother and Claudia Cardinale as the dead wife bring some unexpected oomph to the grim proceedings. Even if I sound a bit down on the film I'm actually recommending it.

An intelectual professor, played by Burt Lancaster, has his retired life interrupted by a wealthy arrogant family who moves upstairs in his Roman apartment. A male hustler, who fascinates and controls all the characters, shows a dated display of the disintegration of an Italian aristocracy, which Visconti knew so well.