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"At the top of the hill, among the tamarisks and cork trees | 0:00:07 | 0:00:11 | |
"appeared the real Sicily. | 0:00:11 | 0:00:14 | |
"Compared to which, the baroque towns and orange groves are mere trifles. | 0:00:16 | 0:00:23 | |
"Aridly undulating, comfortless and irrational with no lines that | 0:00:23 | 0:00:28 | |
"the mind could grasp, conceived in a delirious moment of creation. | 0:00:28 | 0:00:33 | |
"A sea, suddenly petrified in an instant, | 0:00:33 | 0:00:37 | |
"when a change of wind had flung waves into a frenzy." | 0:00:37 | 0:00:41 | |
'When I think of Sicily, this is the landscape I imagine - | 0:00:45 | 0:00:49 | |
'hot, dry, unchanging, timeless.' | 0:00:49 | 0:00:55 | |
Today we think of Sicily as part of Italy but her way of life | 0:00:55 | 0:01:00 | |
and culture and cuisine, | 0:01:00 | 0:01:03 | |
they are a product of 25 centuries of invasion. | 0:01:03 | 0:01:07 | |
Greeks, Arabs, Normans and the Spanish have all left their mark, | 0:01:07 | 0:01:12 | |
but Sicily is a kingdom ruled by the sun and a violent landscape. | 0:01:12 | 0:01:18 | |
This book, The Leopard, is a love letter to Sicily. | 0:01:18 | 0:01:21 | |
It was written in 1955 by Giuseppe Tomasi, Prince of Lampedusa, an impoverished nobleman. | 0:01:21 | 0:01:29 | |
He died before it was published, so he never knew that it would | 0:01:29 | 0:01:33 | |
become one of the best-selling novels written in Italian. | 0:01:33 | 0:01:37 | |
The story is based on his own family and looks back to a time of war, conflict and revolution. | 0:01:37 | 0:01:44 | |
It is a passionate description of what he loved and what his family had lost. | 0:01:44 | 0:01:51 | |
The aristocratic life he knew as a child has certainly disappeared, | 0:01:51 | 0:01:56 | |
along with so many of the places he loved, but some things are changeless. | 0:01:56 | 0:02:01 | |
You can still find the extraordinary landscape that he evokes with such artistry. | 0:02:01 | 0:02:08 | |
You can still eat the food. | 0:02:08 | 0:02:10 | |
The meals in the novel are central to the lives of his characters, | 0:02:10 | 0:02:15 | |
and Lampedusa obviously loved food. | 0:02:15 | 0:02:17 | |
He describes it with the same sensuality as all the other elements of the story. | 0:02:17 | 0:02:24 | |
I am going to trace the story of The Leopard | 0:02:24 | 0:02:27 | |
and the life of its enigmatic author. | 0:02:27 | 0:02:30 | |
I'll cook the meals he describes to see if I can still eat like a prince | 0:02:30 | 0:02:35 | |
in this dark and dazzling island. | 0:02:35 | 0:02:39 | |
The Leopard - Il Gattopardo in Italian - | 0:02:49 | 0:02:52 | |
caused a sensation when it was published in 1958. | 0:02:52 | 0:02:56 | |
It remains a bestseller today. | 0:02:56 | 0:02:59 | |
Visconti turned it into a blockbuster movie with Burt Lancaster as the sardonic Prince. | 0:02:59 | 0:03:06 | |
The Leopard is set in the 1860s, | 0:03:07 | 0:03:11 | |
at the time of the unification of Italy. | 0:03:11 | 0:03:14 | |
And the book raised fundamental issues about the union | 0:03:14 | 0:03:18 | |
that was still unresolved as Italy recovered from the Second World War. | 0:03:18 | 0:03:23 | |
The novel sparked a national debate and today it is regarded | 0:03:23 | 0:03:27 | |
as a key work in understanding Italian history. | 0:03:27 | 0:03:31 | |
Italy is a very young country. | 0:03:31 | 0:03:34 | |
Not yet 150 years old. | 0:03:34 | 0:03:37 | |
Now, history is often easier to remember with some simple visual aids. | 0:03:37 | 0:03:43 | |
In 1860 Sicily and southern Italy, | 0:03:43 | 0:03:47 | |
known as the Kingdom of the Two Sicilies, | 0:03:47 | 0:03:50 | |
was ruled from Naples by the inept and Conservative Bourbon dynasty. | 0:03:50 | 0:03:55 | |
Northern Italy, seen as progressive and modern, | 0:03:55 | 0:03:58 | |
was ruled from Turin by the Savoy king, Victor Emmanuel. | 0:03:58 | 0:04:02 | |
In between were the papal states ruled from Rome by the Pope. | 0:04:02 | 0:04:07 | |
I'm afraid his Holiness has never had his own biscuit. | 0:04:07 | 0:04:11 | |
The movement for a united Italy was led by Giuseppe Garibaldi | 0:04:13 | 0:04:16 | |
who had allied himself with Victor Emmanuel, the Savoy King. | 0:04:16 | 0:04:21 | |
Garibaldi biscuits incidentally are unknown in Italy. | 0:04:21 | 0:04:25 | |
They were invented by the English company Peek Freans, | 0:04:25 | 0:04:29 | |
to cash in on the popular enthusiasm | 0:04:29 | 0:04:32 | |
when Garibaldi visited London in 1864. | 0:04:32 | 0:04:36 | |
Garibaldi was born in Nice when it was still part of Italy. | 0:04:36 | 0:04:41 | |
He was a bit cross when Victor Emmanuel gave it to the French. | 0:04:41 | 0:04:45 | |
But that's another story. | 0:04:45 | 0:04:47 | |
As the novel opens, Garibaldi is on his way to Sicily | 0:04:47 | 0:04:51 | |
to begin his campaign against the Bourbon king. | 0:04:51 | 0:04:55 | |
He was taking a huge gamble against seemingly impossible odds, | 0:04:55 | 0:05:00 | |
but the people with everything to lose were Sicily's feudal aristocracy. | 0:05:00 | 0:05:05 | |
Giuseppe Lampedusa's own family. | 0:05:05 | 0:05:08 | |
So who was Giuseppe Lampedusa, and what traces of his noble family remain in Palermo today? | 0:05:14 | 0:05:21 | |
These ruins are the remains of the Palazzo Lampedusa. | 0:05:29 | 0:05:32 | |
The Palermo Palace of the Lampedusa family. | 0:05:32 | 0:05:36 | |
It was destroyed on the morning of 5th April, 1943. | 0:05:36 | 0:05:41 | |
"I loved our home with utter abandon and still love it now | 0:05:41 | 0:05:46 | |
"when for the last years it has been no more than a memory. | 0:05:46 | 0:05:50 | |
"A bomb manufactured in Pittsburgh, Pennsylvania searched her out and destroyed her." | 0:05:50 | 0:05:57 | |
But this was not some piece of isolated bad luck. | 0:05:59 | 0:06:03 | |
Almost every trace of the patrimony of Giuseppe Tomasi, | 0:06:03 | 0:06:07 | |
Prince of Lampedusa and Duke of Palma, was destroyed during his lifetime. | 0:06:07 | 0:06:13 | |
The wealth of his family was divided and dissipated. | 0:06:13 | 0:06:18 | |
The houses reduced to rubble by war, neglect and natural disasters. | 0:06:18 | 0:06:24 | |
Lampedusa was born in this house in 1896. | 0:06:24 | 0:06:29 | |
He never got over its destruction. | 0:06:29 | 0:06:32 | |
At the very end of his life, to try to come to terms with | 0:06:32 | 0:06:36 | |
his corrosive nostalgia for the world of his childhood, | 0:06:36 | 0:06:40 | |
he wrote a novel that brought it all back to life. | 0:06:40 | 0:06:43 | |
We are told that everyone has a great novel inside them. | 0:06:43 | 0:06:47 | |
But Giuseppe Lampedusa really did. | 0:06:47 | 0:06:49 | |
Lampedusa felt acute nostalgia for everything about his childhood. | 0:06:51 | 0:06:55 | |
One of the main reasons that impelled him to write | 0:06:55 | 0:06:57 | |
was to try and revisit that nostalgia and try to make some sense of it. | 0:06:57 | 0:07:03 | |
There are certain similarities between Don Fabrizio in The Leopard | 0:07:03 | 0:07:06 | |
and Lampedusa's great-grandfather, Prince Guilio. | 0:07:06 | 0:07:09 | |
I don't think Lampedusa knew much about the character of his great-grandfather. | 0:07:09 | 0:07:14 | |
In fact, Don Fabrizio is more Lampedusa - | 0:07:14 | 0:07:17 | |
they have the same sceptical intelligence, | 0:07:17 | 0:07:19 | |
the same fatalist attitude towards the future. | 0:07:19 | 0:07:22 | |
We first meet the Leopard, Don Fabrizio, Prince of Salina, | 0:07:22 | 0:07:27 | |
in the least irritating half hour of his day - | 0:07:27 | 0:07:30 | |
in the run-up to dinner. | 0:07:30 | 0:07:33 | |
The novel starts | 0:07:33 | 0:07:35 | |
with this crisis which is the news of Garibaldi landing in Sicily | 0:07:35 | 0:07:39 | |
which is going to essentially put an end to everything. | 0:07:39 | 0:07:42 | |
Meals punctuate all these historical events, | 0:07:42 | 0:07:45 | |
you have a grand historical event, | 0:07:45 | 0:07:47 | |
then you have the family having a meal. | 0:07:47 | 0:07:49 | |
"Dinner at the Villa Salina was served with a shabby grandeur | 0:07:51 | 0:07:55 | |
"then customary in the Kingdom of the Two Sicilies. | 0:07:55 | 0:07:58 | |
"The silver was massive and the glass splendid | 0:07:58 | 0:08:02 | |
"bearing the initials FD - Ferdinandus debit - | 0:08:02 | 0:08:06 | |
"in memory of royal munificence." | 0:08:06 | 0:08:09 | |
'The first meal in the novel begins with a soup.' | 0:08:13 | 0:08:16 | |
-Buongiorno. -Buongiorno. | 0:08:16 | 0:08:18 | |
'The detail with which the meals are described in the book is delightful. | 0:08:21 | 0:08:25 | |
'Lampedusa was so good at getting these things right.' | 0:08:25 | 0:08:29 | |
What really represents Sicily more than anything else is food. | 0:08:29 | 0:08:34 | |
It is well reflected in the novel, | 0:08:34 | 0:08:36 | |
the way the food and the descriptions and the colours of the food | 0:08:36 | 0:08:40 | |
reflect Sicilian national identity. | 0:08:40 | 0:08:45 | |
The food is not only perfect for the period, but very Sicilian. | 0:08:47 | 0:08:51 | |
With these dried broad beans I am going to make a Sicilian minestra, | 0:08:51 | 0:08:55 | |
the soup eaten at the first dinner. | 0:08:55 | 0:08:58 | |
After his palazzo was destroyed by a bomb, | 0:09:01 | 0:09:04 | |
Giuseppe took refuge here in the Villa San Marco, | 0:09:04 | 0:09:08 | |
and they are kindly letting me borrow their kitchen. | 0:09:08 | 0:09:11 | |
And I have Palmira the cook to give me a hand. | 0:09:11 | 0:09:16 | |
The first job is to turn on the stove. | 0:09:16 | 0:09:19 | |
You can't hurry things when it comes to Sicilian cooking. | 0:09:19 | 0:09:24 | |
My dried broad beans have been soaking overnight. | 0:09:24 | 0:09:27 | |
Soup in Italy may be a little bit brothy, | 0:09:27 | 0:09:32 | |
can be more consistent or it can be a puree. | 0:09:32 | 0:09:37 | |
It is always called zuppa. | 0:09:37 | 0:09:39 | |
In this case, we have zuppa di fave secche, a puree. | 0:09:39 | 0:09:45 | |
They call it macco. | 0:09:45 | 0:09:47 | |
Adding water to cover them and cooking them for three hours. | 0:09:47 | 0:09:53 | |
The next stage is the sofritto. | 0:09:53 | 0:09:57 | |
Sofritto, it means just slightly fried. | 0:09:57 | 0:10:01 | |
This is sofritto of cipola. Onions. | 0:10:01 | 0:10:04 | |
Then we have something very special. | 0:10:04 | 0:10:08 | |
The finocchietto selvatico. | 0:10:08 | 0:10:11 | |
Which is, oh, lovely wild fennel from the mountain. | 0:10:11 | 0:10:16 | |
Because it's not the season, the lady of the house preserved some, | 0:10:16 | 0:10:21 | |
but the Sicilians, they love it. | 0:10:21 | 0:10:26 | |
Shouldn't you have that, you can put in fennel seeds. | 0:10:26 | 0:10:29 | |
Now we put this on the fire. | 0:10:29 | 0:10:32 | |
There are some other regions, Puglia for example, | 0:10:32 | 0:10:35 | |
where they do not put that, | 0:10:35 | 0:10:37 | |
they put a different thing, but we are in Sicily and this is the macco. | 0:10:37 | 0:10:41 | |
I have to turn the heat up on this one to gas mark 3. | 0:10:41 | 0:10:46 | |
There we are. | 0:10:49 | 0:10:50 | |
To accompany my macco, something that is slightly bitter. | 0:10:50 | 0:10:54 | |
Chicory is the ideal. A little bit of oil. | 0:10:54 | 0:10:59 | |
Lovely. | 0:10:59 | 0:11:00 | |
Now I put the garlic to fry and a touch of chilli. | 0:11:00 | 0:11:07 | |
Just a little bit. Wonderful. | 0:11:07 | 0:11:09 | |
We have here all kinds of chicory. | 0:11:10 | 0:11:12 | |
I add a little water. | 0:11:17 | 0:11:19 | |
Lid on, and it cooks by itself. | 0:11:21 | 0:11:25 | |
Once the broad beans have become a puree, the dish is ready. | 0:11:25 | 0:11:29 | |
And now we finalise the assembly of that, | 0:11:29 | 0:11:34 | |
a bit of salt, olive oil. | 0:11:34 | 0:11:37 | |
Now it has the proper taste. | 0:11:37 | 0:11:40 | |
Perfection. | 0:11:40 | 0:11:41 | |
Ah, the smell! | 0:11:41 | 0:11:43 | |
So in here we've got the macco. | 0:11:43 | 0:11:47 | |
And here we've got the chicory | 0:11:51 | 0:11:56 | |
with the garlic and the chilli. | 0:11:56 | 0:12:00 | |
The last touch, | 0:12:00 | 0:12:02 | |
the onions with fennel. | 0:12:02 | 0:12:05 | |
Very much-loved by the Sicilian. | 0:12:05 | 0:12:11 | |
Macco con cicoria, | 0:12:12 | 0:12:14 | |
a delicious introduction to Sicily and to the Leopard. | 0:12:14 | 0:12:17 | |
The next morning, we meet Don Fabrizio's nephew, Tancredi, | 0:12:17 | 0:12:22 | |
the pivotal character in the novel. | 0:12:22 | 0:12:24 | |
He is the only person who embraces the idea of a unified Italy | 0:12:24 | 0:12:29 | |
and goes to a fight with Garibaldi against the king. | 0:12:29 | 0:12:32 | |
All of his gallantry and soldiering... | 0:12:32 | 0:12:37 | |
I think he's a chocolate soldier, really. | 0:12:37 | 0:12:40 | |
He comes across as the likely lad - you can see him | 0:12:41 | 0:12:43 | |
in his natty bowler hat and his racy check suit. | 0:12:43 | 0:12:48 | |
He is almost a kind of spiv. | 0:12:48 | 0:12:50 | |
A kind of Sicilian aristocratic spiv, which is quite a good combination. | 0:12:50 | 0:12:54 | |
Don Fabrizio himself is too sceptical | 0:12:54 | 0:12:57 | |
to think Sicily will improve much with political unification. | 0:12:57 | 0:13:02 | |
In fact, Tancredi too is cynical, because he makes the famous line, | 0:13:02 | 0:13:06 | |
that to have things stay as they are, things have got to change. | 0:13:06 | 0:13:11 | |
It will be a cosmetic change at the top, but the aristocracy will still be in power. | 0:13:11 | 0:13:16 | |
Here in Sicily, the nobility certainly had a lot to lose. | 0:13:16 | 0:13:20 | |
Even without Garibaldi's intervention, the indolence of the Sicilian landowners | 0:13:20 | 0:13:26 | |
was bringing about their own downfall. | 0:13:26 | 0:13:28 | |
Don Fabrizio's properties covered thousands of acres. | 0:13:28 | 0:13:33 | |
But the Sicilian aristocracy had no interest in the management of their estates. | 0:13:33 | 0:13:39 | |
"The world of centuries have been transmuted into ornament, luxury, pleasure. | 0:13:39 | 0:13:47 | |
"This world, which had achieved its own object, was now composed | 0:13:47 | 0:13:51 | |
"only of essential oils and like essential oils, soon evaporated." | 0:13:51 | 0:13:57 | |
Seemingly indifferent, or unaware of the evaporation of his fortune, | 0:13:57 | 0:14:01 | |
Don Fabrizio was still enjoying the simple pleasures of his aristocratic lifestyle. | 0:14:01 | 0:14:08 | |
"At the end of the meal appeared a rum jelly. | 0:14:08 | 0:14:12 | |
"This was the Prince's favourite pudding, | 0:14:12 | 0:14:14 | |
"and the Princess had been careful to order it | 0:14:14 | 0:14:18 | |
"early in the morning in gratitude for favours granted." | 0:14:18 | 0:14:23 | |
Now, proper jelly starts with gelatine which we soften in some water. | 0:14:24 | 0:14:29 | |
Meanwhile you dissolve 300 grams of sugar in a pan. | 0:14:29 | 0:14:34 | |
Then you take the gelatine and then you stir it until it's dissolved. | 0:14:34 | 0:14:40 | |
It's very interesting a prince would like a desert like that, a jelly. | 0:14:40 | 0:14:47 | |
Now there is wonderful rum. | 0:14:47 | 0:14:49 | |
So it should be 200 centilitres - let me see if I can do it... | 0:14:49 | 0:14:54 | |
I think, is it 200? | 0:14:57 | 0:14:59 | |
No, another little bit. | 0:14:59 | 0:15:01 | |
Wonderful amber colour. | 0:15:03 | 0:15:05 | |
And a little bit more. | 0:15:05 | 0:15:07 | |
Now we can understand why the Prince liked it. It's quite a boozy jelly. | 0:15:11 | 0:15:16 | |
And now it is ready for the mould. | 0:15:16 | 0:15:19 | |
Wonderful copper mould. An old one. | 0:15:19 | 0:15:22 | |
The smell is just fantastic. | 0:15:24 | 0:15:27 | |
Wow! | 0:15:30 | 0:15:33 | |
Now is ready for the fridge. | 0:15:33 | 0:15:35 | |
Magnifico. Guardi! | 0:15:39 | 0:15:42 | |
"It was rather fattening at the first sight. | 0:15:42 | 0:15:44 | |
"Shaped like a tower garrisoned by red and green cherries and pistachio nuts." | 0:15:44 | 0:15:50 | |
So, we go now to the decoration. | 0:15:50 | 0:15:53 | |
I'm very glad it came out like this wonderful jelly. | 0:15:53 | 0:15:56 | |
It's lovely to decorate it with fresh fruit, | 0:15:56 | 0:16:00 | |
orange peel, | 0:16:00 | 0:16:03 | |
pinoli, | 0:16:03 | 0:16:04 | |
what a wonderful pudding. | 0:16:04 | 0:16:06 | |
Elegantissimo. | 0:16:06 | 0:16:07 | |
My host at the Villa San Marco was Daniella Camerata. | 0:16:07 | 0:16:11 | |
Let's try. | 0:16:13 | 0:16:15 | |
I wondered what she would make of Don Fabrizio's favourite dessert. | 0:16:15 | 0:16:19 | |
Very good. | 0:16:19 | 0:16:20 | |
But the good thing is the orange skin. | 0:16:22 | 0:16:25 | |
-So the rum also... -A delicate taste of rum. | 0:16:27 | 0:16:30 | |
'Like Don Fabrizio, we drank a little Marsala with our jelly, | 0:16:30 | 0:16:35 | |
'which it complimented beautifully. | 0:16:35 | 0:16:38 | |
'Lampedusa wrote to a friend that every word in his book was weighted, every episode has a hidden sense. | 0:16:38 | 0:16:45 | |
'While Don Fabrizio was enjoying his jelly, | 0:16:45 | 0:16:48 | |
'Garibaldi was landing at the port of Marsala.' | 0:16:48 | 0:16:51 | |
'Marsala is at the very westernmost point of Sicily. | 0:16:56 | 0:17:00 | |
'On a coastal plain of vineyards and salt pans. | 0:17:00 | 0:17:04 | |
'A landscape that hasn't changed at all | 0:17:04 | 0:17:07 | |
'since its most famous visitor arrived on the 11th May, 1860. | 0:17:07 | 0:17:13 | |
'This is the Porta Garibaldi, | 0:17:13 | 0:17:16 | |
'previously known as the Porta Reale, the Royal Gate. | 0:17:16 | 0:17:19 | |
'In a perfect example of Tancredi's warning, | 0:17:19 | 0:17:22 | |
'the gate retains its Bourbon insignia but the name is changed.' | 0:17:22 | 0:17:27 | |
Garibaldi landed at Marsala with about 1,000 men. | 0:17:27 | 0:17:32 | |
The legendary mille. | 0:17:32 | 0:17:33 | |
The Bourbon garrison had artillery and yet Garibaldi and his Red Shirts | 0:17:33 | 0:17:39 | |
marched into town without opposition. | 0:17:39 | 0:17:42 | |
Now, how did he manage that? | 0:17:42 | 0:17:44 | |
The explanation is to be found in the surrounding vineyards. | 0:17:45 | 0:17:49 | |
This was once the home of John Woodhouse - | 0:17:49 | 0:17:53 | |
his neighbours had equally British names like Ingham and Whitaker. | 0:17:53 | 0:17:59 | |
The truth is Marsala makes one of the greatest fortified wines in the world | 0:18:00 | 0:18:05 | |
and wherever you find fortified wine | 0:18:05 | 0:18:08 | |
you find the British who more or less invented it. | 0:18:08 | 0:18:11 | |
By great good fortune that day, | 0:18:12 | 0:18:15 | |
two British warships, Intrepid and the Argus, | 0:18:15 | 0:18:19 | |
were in the harbour to protect local British interests. | 0:18:19 | 0:18:23 | |
The Bourbons held their fire for fear of hitting the British vessels and Garibaldi was ashore. | 0:18:23 | 0:18:29 | |
Britain is the dominant power in the Mediterranean and the Bourbon Army knows | 0:18:29 | 0:18:34 | |
they can't risk alienating or offending the British. | 0:18:34 | 0:18:38 | |
Garibaldi spent his first night in Sicily in this house. | 0:18:38 | 0:18:42 | |
I don't know what he had for dinner that evening, | 0:18:42 | 0:18:45 | |
but Marsala always makes me think of one thing. | 0:18:45 | 0:18:49 | |
The zabaglione. | 0:18:49 | 0:18:51 | |
For that I need eggs, fresh eggs. | 0:18:51 | 0:18:54 | |
From which I take only the yoke. | 0:18:54 | 0:18:58 | |
Wonderful yoke, one. | 0:18:58 | 0:18:59 | |
So I just take about six eggs to make it quite rich and nice. | 0:18:59 | 0:19:04 | |
Sugar. | 0:19:04 | 0:19:06 | |
In this case...about five. | 0:19:06 | 0:19:10 | |
And then you start to beat it. | 0:19:10 | 0:19:12 | |
To make it really a cream. | 0:19:14 | 0:19:17 | |
So it has to be foamy, so that the sugar is really dissolved. | 0:19:17 | 0:19:24 | |
And then we have the good old virgin Marsala. It's a wonderful thing. | 0:19:24 | 0:19:31 | |
And now on the little fire here. It's a bit high. | 0:19:34 | 0:19:37 | |
Usually, it is made on a bain-marie. | 0:19:37 | 0:19:40 | |
You have to be very careful it doesn't become scrambled eggs. | 0:19:40 | 0:19:43 | |
Incidentally, in the Prohibition time in America, | 0:19:43 | 0:19:50 | |
Marsala was the only alcoholic liquid allowed to be sold | 0:19:50 | 0:19:54 | |
because it was supposed to be medicine. | 0:19:54 | 0:19:57 | |
I love zabaglione. | 0:19:57 | 0:20:01 | |
Wonderful. | 0:20:04 | 0:20:06 | |
And now you just put it into glasses. | 0:20:06 | 0:20:09 | |
This is pure poetry. | 0:20:09 | 0:20:11 | |
Now, you could let it cool and eat it cold, | 0:20:11 | 0:20:15 | |
but the best is to eat it with some biscuit, warm. | 0:20:15 | 0:20:18 | |
It's a fantastic dessert. | 0:20:18 | 0:20:21 | |
Very quickly to go and very quickly to make. | 0:20:21 | 0:20:24 | |
-HE INHALES -Oh... | 0:20:24 | 0:20:26 | |
Sicily has known so many invaders that Garibaldi was only the latest in a long line. | 0:20:27 | 0:20:34 | |
The mayor of Marsala was forced to sign a decree declaring Bourbon rule was at an end. | 0:20:34 | 0:20:41 | |
Garibaldi and his men moved off into the interior. | 0:20:41 | 0:20:45 | |
Whatever ruler there is of Sicily, | 0:20:45 | 0:20:47 | |
it doesn't make much difference. They're really all the same. | 0:20:47 | 0:20:51 | |
As long as the invader doesn't interfere too much | 0:20:51 | 0:20:55 | |
with the Sicilian way of life | 0:20:55 | 0:20:57 | |
and as long as the invader doesn't interfere too much with the Sicilian way of food, | 0:20:57 | 0:21:01 | |
everything will kind of carry on more or less the same as before. | 0:21:01 | 0:21:05 | |
"All around quivered at the funereal countryside, | 0:21:11 | 0:21:14 | |
"yellow with stubble, black with burnt patches. | 0:21:14 | 0:21:18 | |
"The lament of cicadas filled the sky. | 0:21:18 | 0:21:22 | |
"It was like a death rattle from a parched Sicily | 0:21:22 | 0:21:26 | |
"at the end of August, vainly awaiting rain." | 0:21:26 | 0:21:29 | |
Despite Garibaldi's recent conquests, | 0:21:32 | 0:21:35 | |
Don Fabrizio and his family managed to travel across the island | 0:21:35 | 0:21:39 | |
to spend the summer months at their country estate, Donnafugata. | 0:21:39 | 0:21:43 | |
The model for the Palace of Donnafugata | 0:21:46 | 0:21:49 | |
was this house, the Palazzo Cuto in Santa Margherita. | 0:21:49 | 0:21:53 | |
'Lampedusa spent most of his childhood summers in this house, | 0:21:53 | 0:21:57 | |
'which belonged to his mother's family.' | 0:21:57 | 0:22:01 | |
"It spread over a vast expanse and contained about 100 rooms. | 0:22:01 | 0:22:06 | |
"It gave the impression of an enclosed and self-sufficient entity, | 0:22:06 | 0:22:10 | |
"a kind of a Vatican, as it were." | 0:22:10 | 0:22:14 | |
But what we see today is a very different building to the summer home loved by the young Giuseppe. | 0:22:14 | 0:22:21 | |
During the night of the 19th January, 1968, | 0:22:27 | 0:22:31 | |
an earthquake destroyed some 60% of the town, | 0:22:31 | 0:22:36 | |
including most of this grand old house. | 0:22:36 | 0:22:39 | |
40 years later, the old town has been abandoned, | 0:22:42 | 0:22:46 | |
and it is difficult for us to appreciate the beauty that Lampedusa found here. | 0:22:46 | 0:22:51 | |
The Palazzo Cuto, however, has been rebuilt. | 0:22:56 | 0:23:00 | |
This is now the town hall, | 0:23:00 | 0:23:04 | |
but very little remains of the original structure. | 0:23:04 | 0:23:07 | |
The garden gives us a better idea of Giuseppe's childhood playground. | 0:23:07 | 0:23:13 | |
"In the furnace of summer, when the jet of the spring dwindled, | 0:23:16 | 0:23:21 | |
"it was a paradise of parched scents | 0:23:21 | 0:23:23 | |
"made to delight the nose rather than the eyes." | 0:23:23 | 0:23:27 | |
In the novel, Donnafugata was an even larger house, dominating the town, | 0:23:27 | 0:23:33 | |
a symbol of the feudal power of the Prince. | 0:23:33 | 0:23:36 | |
It seemed unassailable, but was it? | 0:23:36 | 0:23:40 | |
When he travels to Donnafugata, | 0:23:40 | 0:23:42 | |
for him, it's this kind of devastating moment, | 0:23:42 | 0:23:45 | |
and this is represented very effectively by the character of Don Calogero Sedara, | 0:23:45 | 0:23:51 | |
who has acquired an enormous amount of money, and acquired political power by becoming the mayor. | 0:23:51 | 0:23:57 | |
On the first evening in Donnafugata, Don Fabrizio invites the town notables to dinner, | 0:23:57 | 0:24:04 | |
where they will be served the rare treat of Sicilian baronial cuisine - | 0:24:04 | 0:24:08 | |
a macaroni pie! | 0:24:08 | 0:24:11 | |
Palmira has spent the day making the stock for this incredible dish, | 0:24:11 | 0:24:16 | |
with vegetables and a large joint of beef. | 0:24:16 | 0:24:19 | |
But first, we need to prepare a pastry case. | 0:24:19 | 0:24:23 | |
A little bit of flour... | 0:24:23 | 0:24:25 | |
not to let it stick. Palmira would call it "pasta for the mince". | 0:24:25 | 0:24:30 | |
Cranberry pastry. Probably the richest dish that I ever encounter. | 0:24:30 | 0:24:37 | |
There we are. | 0:24:39 | 0:24:41 | |
When I read this recipe, | 0:24:41 | 0:24:43 | |
I thought to change, immediately, something, | 0:24:43 | 0:24:47 | |
because it was saying that you have to take a chicken, | 0:24:47 | 0:24:52 | |
taken from the ovary, unborn eggs, to which I had an idea. | 0:24:52 | 0:24:58 | |
I will take just the yoke. | 0:24:58 | 0:25:00 | |
And I saved the outcry of many people. | 0:25:00 | 0:25:03 | |
The unborn egg is just like this when it's cooked. | 0:25:03 | 0:25:07 | |
One of my favourite descriptions, in fact, in the novel | 0:25:07 | 0:25:11 | |
is when Don Calogero Sedara arrives for the dinner. | 0:25:11 | 0:25:14 | |
And the Prince, | 0:25:14 | 0:25:16 | |
not in evening dress, because he doesn't want to embarrass his fellow guests | 0:25:16 | 0:25:21 | |
who don't have evening dress, | 0:25:21 | 0:25:23 | |
and Don Calogero Sedara turns up in evening dress. | 0:25:23 | 0:25:27 | |
"All was placid and normal | 0:25:27 | 0:25:29 | |
"when Francesco Paolo, the 16-year-old son, | 0:25:29 | 0:25:32 | |
"burst into the room and announced, | 0:25:32 | 0:25:34 | |
" 'Papa! Don Calogero is just coming up the stairs - in tails!' " | 0:25:34 | 0:25:40 | |
For the Prince, Don Fabrizio, | 0:25:40 | 0:25:42 | |
this is a shock worse than Garibaldi's landing at Marsala | 0:25:42 | 0:25:47 | |
and he describes him as a revolution in white tie and tails. | 0:25:47 | 0:25:53 | |
Despite the unease caused by Sedara's appearance, the meal itself is a very grand affair. | 0:25:53 | 0:25:59 | |
Macaroni pie certainly takes some preparation. | 0:25:59 | 0:26:03 | |
Olive oil, as usual, abundant. | 0:26:04 | 0:26:07 | |
And then onion. | 0:26:07 | 0:26:09 | |
Finely chopped onion. | 0:26:09 | 0:26:11 | |
My goodness, the fire is good. | 0:26:11 | 0:26:14 | |
And then comes the chicken. | 0:26:14 | 0:26:17 | |
While the pasta is boiling, I prepare this sort of filling. | 0:26:18 | 0:26:23 | |
Look at this, how many other things here to come. | 0:26:23 | 0:26:26 | |
So, the next bit will be the chicken livers. | 0:26:26 | 0:26:30 | |
And the little hearts. | 0:26:33 | 0:26:34 | |
In the original recipe is written truffles. | 0:26:34 | 0:26:38 | |
But a wonderful substitute is porcini. | 0:26:38 | 0:26:42 | |
There you are. | 0:26:42 | 0:26:45 | |
Now, I have to put two glasses of this wonderful beef extract | 0:26:45 | 0:26:51 | |
to give another dimension of flavours. | 0:26:51 | 0:26:56 | |
Little cubes of cooked ham. | 0:26:56 | 0:26:59 | |
A little bit of wine. | 0:27:02 | 0:27:04 | |
La pasta. Everybody in Italy, when the pasta comes, "La pasta!" | 0:27:07 | 0:27:11 | |
So, this has been cooked very al dente. | 0:27:11 | 0:27:16 | |
Put in there. Now we put this, the so-called unborn eggs. | 0:27:16 | 0:27:22 | |
Wonderful. | 0:27:23 | 0:27:25 | |
Now, everything comes into the pasta, here... | 0:27:27 | 0:27:32 | |
Fantastic. Oh! | 0:27:33 | 0:27:36 | |
Now the last touch - Parmesan. | 0:27:36 | 0:27:39 | |
After this, you have to have a holiday. | 0:27:39 | 0:27:42 | |
This pasta is saying to me, "Eat me, eat me!" ..Palmira. | 0:27:42 | 0:27:47 | |
This is the pastry case... | 0:27:47 | 0:27:51 | |
which we will fill up | 0:27:51 | 0:27:54 | |
with this. | 0:27:54 | 0:27:56 | |
Now, the next step is to make a lid. | 0:28:01 | 0:28:05 | |
That's fantastic. | 0:28:05 | 0:28:07 | |
So we have here a wonderful woman. | 0:28:07 | 0:28:10 | |
-PALMIRA SPEAKS IN ITALIAN -Made my life very easy. Grazie. | 0:28:10 | 0:28:15 | |
Then a bit of brushing, | 0:28:15 | 0:28:17 | |
which lets us achieve a wonderful golden crust. | 0:28:17 | 0:28:20 | |
Fantastic. | 0:28:23 | 0:28:24 | |
The last touch is cinnamon. | 0:28:26 | 0:28:29 | |
And now this goes for half an hour in the oven. | 0:28:29 | 0:28:34 | |
Now, at the dinner in Donnafugata, there's another shock for Don Fabrizio. | 0:28:34 | 0:28:39 | |
There's this beautiful girl, Angelica, daughter of the mayor. | 0:28:39 | 0:28:42 | |
"The door opened and in came Angelica. | 0:28:42 | 0:28:46 | |
"Emanating from her whole person | 0:28:46 | 0:28:49 | |
"was the invisible calm of a woman sure of her own beauty." | 0:28:49 | 0:28:52 | |
There is an atmosphere heavy with sensuality at the dinner, | 0:28:52 | 0:28:57 | |
created by the richness of the macaroni pie and the beauty of Angelica. | 0:28:57 | 0:29:02 | |
Tancredi imagines kissing her with each mouthful, | 0:29:02 | 0:29:06 | |
and quickly falls in love. | 0:29:06 | 0:29:09 | |
A lot of Sicilians think food is actually | 0:29:09 | 0:29:14 | |
the same as sex. | 0:29:14 | 0:29:16 | |
It is a kind of animal pleasure, | 0:29:16 | 0:29:21 | |
with little areas of poetry around it. | 0:29:21 | 0:29:27 | |
THEY SPEAK IN ITALIAN | 0:29:30 | 0:29:32 | |
First, the eye is eating it, | 0:29:35 | 0:29:38 | |
then comes the mouth. | 0:29:38 | 0:29:42 | |
The flavour is of a... | 0:29:42 | 0:29:44 | |
..very sophisticated. | 0:29:46 | 0:29:48 | |
IN ITALIAN | 0:29:48 | 0:29:50 | |
She agrees! | 0:29:50 | 0:29:51 | |
'There are these two kinds of Sicilian cuisine. | 0:29:51 | 0:29:55 | |
'There's this cucina baronale, which is represented by the macaroni pie, | 0:29:55 | 0:30:00 | |
'and cucina povera, which can extend also to street food.' | 0:30:00 | 0:30:05 | |
It's not at all uncommon for even the richest members of Sicilian society | 0:30:05 | 0:30:11 | |
to eat very simple food, and to go out in the middle of the night | 0:30:11 | 0:30:14 | |
onto the streets of a city like Palermo and eat street food. | 0:30:14 | 0:30:19 | |
You find hot food being cooked in the streets all over Palermo, | 0:30:28 | 0:30:33 | |
but I followed my nose and the clouds of smoke to the Borgo Vecchio. | 0:30:33 | 0:30:38 | |
I wanted to try a local speciality - stighiole - and I found it cooking on the grill at Da Michele. | 0:30:38 | 0:30:45 | |
And there we are. This is Michele, a Toscano-smoking chef. | 0:30:45 | 0:30:50 | |
So many of my flavours. | 0:30:50 | 0:30:52 | |
THEY SPEAK IN ITALIAN | 0:30:52 | 0:30:54 | |
20 years he's here. So, the meat is almost ready? | 0:30:54 | 0:30:59 | |
Stighiole, they are very tender intestines of a deer | 0:30:59 | 0:31:04 | |
that hasn't eaten grass yet, only milk. | 0:31:04 | 0:31:07 | |
And look at that - they look wonderful. | 0:31:07 | 0:31:09 | |
Lemon. In fact, this is the food for poor people, | 0:31:11 | 0:31:16 | |
because they didn't throw away anything. | 0:31:16 | 0:31:18 | |
But it's so tasty. | 0:31:18 | 0:31:20 | |
Grazie. | 0:31:20 | 0:31:22 | |
Let's see. | 0:31:24 | 0:31:25 | |
I love this. | 0:31:27 | 0:31:28 | |
They want something to taste, as well. Here. | 0:31:28 | 0:31:32 | |
IN ITALIAN | 0:31:32 | 0:31:34 | |
Michele was keen to show off the versatility of his grill with a sophisticated seafood feast. | 0:31:38 | 0:31:44 | |
But first, he needed the right music. | 0:31:44 | 0:31:48 | |
The traditional songs of his childhood. | 0:31:48 | 0:31:51 | |
MUSIC: "That's The Way (I Like It) by KC & The Sunshine Band | 0:31:51 | 0:31:55 | |
This is his own recipe. They call it gambero bianco. | 0:31:55 | 0:31:58 | |
That quick. | 0:31:59 | 0:32:00 | |
It is called mof mof - the minimum of fuss, maximum of flavour. | 0:32:00 | 0:32:04 | |
# That's the way, uh-huh, uh-huh I like it | 0:32:07 | 0:32:11 | |
# Uh-huh, uh-huh That's the way, uh-huh, uh-huh | 0:32:11 | 0:32:14 | |
# I like it, uh-huh, uh-huh... # | 0:32:14 | 0:32:17 | |
IN ITALIAN | 0:32:17 | 0:32:19 | |
And above all, a nice shot of brandy. | 0:32:19 | 0:32:23 | |
This is fantastic. | 0:32:23 | 0:32:25 | |
Look at that. | 0:32:25 | 0:32:27 | |
This is a fantastic idea. | 0:32:27 | 0:32:30 | |
This is not just street food, this is street theatre. | 0:32:30 | 0:32:35 | |
Because the Italians, they love this. | 0:32:35 | 0:32:38 | |
The most wonderful thing is that Michele cooks everything for everybody. | 0:32:38 | 0:32:43 | |
So if somebody comes with a slice of meat or a fish, | 0:32:43 | 0:32:46 | |
in a minute or two, it is ready. | 0:32:46 | 0:32:48 | |
You take it home. | 0:32:48 | 0:32:51 | |
No mess, no washing up. | 0:32:51 | 0:32:53 | |
They are like cherries - | 0:32:53 | 0:32:55 | |
you eat one, you eat thousands. | 0:32:55 | 0:32:58 | |
Michele is celebrating in this game here. | 0:33:00 | 0:33:03 | |
I never could imagine that you could cook this on the grill. | 0:33:03 | 0:33:07 | |
But like this, it's just fantastic. | 0:33:07 | 0:33:09 | |
The funny fact is that, in 50 years of cooking, I can say that I learned another thing. | 0:33:09 | 0:33:15 | |
You never stop learning. | 0:33:15 | 0:33:17 | |
Wonderful. | 0:33:18 | 0:33:20 | |
'As the long Sicilian summer continues, the story goes forward to October. | 0:34:13 | 0:34:19 | |
'Still at Donnafugata, Don Fabrizio spends his days out with a gun.' | 0:34:19 | 0:34:25 | |
The Prince loves hunting but he has a lot on his mind. | 0:34:27 | 0:34:32 | |
During the summer months, there have been significant political developments. | 0:34:32 | 0:34:39 | |
In October 1860, Sicily will have to vote on whether to join the Kingdom of Italy. | 0:34:39 | 0:34:45 | |
'When the result of the vote in Donnafugata is announced by the mayor, Calogero Sedara, | 0:34:46 | 0:34:53 | |
'it seems there was a unanimous vote in favour, | 0:34:53 | 0:34:58 | |
'but Don Fabrizio is sure there were votes cast against | 0:34:58 | 0:35:02 | |
'which have conveniently disappeared from Sedara's tally.' | 0:35:02 | 0:35:05 | |
The government in northern Italy, they are basically saying, | 0:35:05 | 0:35:08 | |
"Do you want the unification of Italy with Victor Emmanuel as king? | 0:35:08 | 0:35:14 | |
"Yes or no?" There are no negotiations. | 0:35:14 | 0:35:17 | |
Just yes or no. | 0:35:17 | 0:35:19 | |
And then the only thing the government has to do is to make sure it's going to be a "yes" vote, | 0:35:19 | 0:35:25 | |
so all of the energy is thrown into this being an overwhelmingly popular "yes" vote, | 0:35:25 | 0:35:31 | |
and that's done by fairly straightforward techniques of kind of bullying and manipulation | 0:35:31 | 0:35:37 | |
and corruption that we are all entirely familiar with. | 0:35:37 | 0:35:40 | |
'But there have been family developments as well. | 0:35:42 | 0:35:47 | |
'Tancredi has not wasted his summer.' | 0:35:47 | 0:35:49 | |
Don Fabrizio must ask the despised Sedara | 0:35:49 | 0:35:53 | |
for the hand of his daughter, Angelica, for his nephew, Tancredi. | 0:35:53 | 0:35:58 | |
'Lampedusa tells us that Don Fabrizio's aim is particularly accurate and pitiless, | 0:35:58 | 0:36:05 | |
'identifying those innocent creatures with Calogero Sedara. | 0:36:05 | 0:36:10 | |
'I am afraid I wasn't such a good shot as Don Fabrizio, | 0:36:11 | 0:36:15 | |
'but we found this plump rabbit at the butcher's shop.' | 0:36:15 | 0:36:19 | |
A nice rabbit. | 0:36:19 | 0:36:21 | |
Or could have been pheasant. It's to be cut into pieces. | 0:36:21 | 0:36:26 | |
When I was a child... | 0:36:26 | 0:36:28 | |
I was raising rabbits when I was about 15, 16. | 0:36:28 | 0:36:35 | |
And I had the task to kill them, as well. | 0:36:35 | 0:36:38 | |
But it was wartime, and no time wasted to consider them as a pet. | 0:36:38 | 0:36:45 | |
So the preferred morsel of my father was the head, | 0:36:45 | 0:36:50 | |
which was opened to expose the brain, then salt, and baked. | 0:36:50 | 0:36:54 | |
So, now we cut the onion... | 0:36:54 | 0:36:58 | |
So we add the onions. | 0:36:58 | 0:37:00 | |
Now we add the potatoes. | 0:37:00 | 0:37:02 | |
This is such a simple dish, it is unbelievable. | 0:37:02 | 0:37:07 | |
Olive oil. | 0:37:07 | 0:37:09 | |
Wonderful black olives. | 0:37:11 | 0:37:15 | |
A good portion of salt. This salt comes from Trapani. It's local salt. | 0:37:15 | 0:37:20 | |
And then we put the pieces of meat like this, like this, | 0:37:20 | 0:37:26 | |
like that, for somebody that eats a lot! | 0:37:26 | 0:37:29 | |
Then another bit of oil. | 0:37:29 | 0:37:34 | |
So, the rosemary, it's quite a strong herb. | 0:37:34 | 0:37:38 | |
From the house here, producing this fantastic wine. | 0:37:38 | 0:37:42 | |
That's it. | 0:37:46 | 0:37:49 | |
And now it comes into the oven. | 0:37:49 | 0:37:51 | |
'Next door, in the big kitchen, | 0:37:58 | 0:38:00 | |
'I discovered Daniella's son Enrico, an organic food specialist, | 0:38:00 | 0:38:05 | |
'who was scavenging for some lunch.' | 0:38:05 | 0:38:07 | |
-Do you like it? -Yes, sure. This is my lucky day. | 0:38:07 | 0:38:10 | |
What do you eat, usually, for lunch? | 0:38:10 | 0:38:13 | |
It depends. | 0:38:13 | 0:38:14 | |
Usually, I have fast food, because I...have to work, | 0:38:14 | 0:38:19 | |
-I never have the time to eat well. -To relax and eat something? -Definitely. | 0:38:19 | 0:38:23 | |
In Palermo, the fast food is really good. It's natural food, but just fast. | 0:38:23 | 0:38:27 | |
Do you like also the stighiole? | 0:38:27 | 0:38:29 | |
-Yes, sure. It's my favourite fast food in Palermo. They're delicious. -So you like the rabbit? -Yes. | 0:38:29 | 0:38:35 | |
Tancredi and Angelica are now engaged | 0:38:46 | 0:38:49 | |
and escape together into the vast, empty ruins of the palace at Donnafugata. | 0:38:49 | 0:38:55 | |
Lampedusa evokes the frustrated anticipation of their wedding. | 0:38:55 | 0:39:00 | |
But was he drawing on his own experience? | 0:39:00 | 0:39:03 | |
Lampedusa married Alessandra Wolff late in life. | 0:39:03 | 0:39:07 | |
His wife, who was known as Licy, was a Latvian divorcee | 0:39:07 | 0:39:12 | |
who was very fond of her own family castle on the Baltic. | 0:39:12 | 0:39:16 | |
Their attempt to set up home with Lampedusa's mother in Palermo was a failure. | 0:39:16 | 0:39:22 | |
His wife and his mother quarrelled terribly | 0:39:22 | 0:39:25 | |
and so she decided, "I live in Latvia, you live in Sicily - | 0:39:25 | 0:39:29 | |
"don't put us together, never again!" | 0:39:29 | 0:39:32 | |
For a long time in the 1930s, he only saw Licy twice a year, | 0:39:32 | 0:39:35 | |
at Christmas in Palermo, and in the summer in Latvia. | 0:39:35 | 0:39:39 | |
As well as being Prince of Lampedusa, Giuseppe was also Duke of Palma. | 0:39:39 | 0:39:44 | |
The title originates from Palma di Montechiaro, on the south coast of Sicily. | 0:39:44 | 0:39:51 | |
Perhaps because it had no childhood ties, | 0:39:51 | 0:39:54 | |
Lampedusa didn't visit the town until the 1950s, | 0:39:54 | 0:39:59 | |
when he found the Tomasi name still commanded respect. | 0:39:59 | 0:40:02 | |
The cathedral is full of family portraits, | 0:40:02 | 0:40:05 | |
but, for me, as a fan of The Leopard, | 0:40:05 | 0:40:08 | |
the best discovery is just down the hill - | 0:40:08 | 0:40:10 | |
the Convent of the Rosary. | 0:40:10 | 0:40:13 | |
As Duke of Palma, Giuseppe was the patron of this convent, | 0:40:19 | 0:40:23 | |
and so was the only man allowed to enter the closed order - | 0:40:23 | 0:40:27 | |
a detail he put straight into the novel. | 0:40:27 | 0:40:31 | |
In the 17th century, there was such a strong streak of religious fervour | 0:40:31 | 0:40:36 | |
in the Lampedusa family, it's surprising they managed to keep producing heirs. | 0:40:36 | 0:40:42 | |
This is the first duke, who built the town. | 0:40:42 | 0:40:46 | |
He is known as the Duca Santos, the Saint Duke. | 0:40:46 | 0:40:49 | |
And this is his sister, Isabella Tomasi, | 0:40:49 | 0:40:53 | |
the venerable Maria Crocifissa, | 0:40:53 | 0:40:55 | |
and some items of interest from her life. | 0:40:55 | 0:40:58 | |
This stone, thrown at her by the devil, | 0:40:58 | 0:41:01 | |
was miraculously stopped in mid-air. | 0:41:01 | 0:41:05 | |
'I was also able to see some of her correspondence.' | 0:41:05 | 0:41:10 | |
This is a photocopy of a letter written by the Venerabile Maria. | 0:41:10 | 0:41:15 | |
Si. | 0:41:15 | 0:41:17 | |
And while she was writing, she heard voices, to write bad words, | 0:41:17 | 0:41:22 | |
until she discovered it was the devil dictating the letter. Then she stopped. | 0:41:22 | 0:41:26 | |
I collected my final treat on the way out - | 0:41:26 | 0:41:31 | |
the little almond cakes made by the nuns which Lampedusa had enjoyed. | 0:41:31 | 0:41:36 | |
'In his diary, he described his visit with one word - "commosso" - moved.' | 0:41:36 | 0:41:43 | |
Mmm. The inside is the mince of a special lemon | 0:41:43 | 0:41:49 | |
called cedro. Just wonderful. | 0:41:49 | 0:41:52 | |
"On these premises, the tomb was venerated with due respect by all, | 0:41:53 | 0:41:58 | |
"the nuns' watery coffee drunk with tolerance | 0:41:58 | 0:42:02 | |
"and the pink-and-greenish almond cakes crunched with satisfaction." | 0:42:02 | 0:42:06 | |
A few miles away on the coast, overlooking the sea, | 0:42:09 | 0:42:14 | |
we find yet another Lampedusa family ruin - the Castle of Montechiaro. | 0:42:14 | 0:42:19 | |
This was the only part of his great-grandfather's property that came directly to Giuseppe. | 0:42:24 | 0:42:30 | |
In the 1950s, when Lampedusa visited for the first time, it was considered practically worthless. | 0:42:32 | 0:42:39 | |
After his first trip here, Lampedusa soon returned again, with his wife, Licy. | 0:42:39 | 0:42:46 | |
She suggested they might restore part of the ruin | 0:42:46 | 0:42:49 | |
to make it habitable, but nothing came of the idea. | 0:42:49 | 0:42:53 | |
Lampedusa later confessed in his diary | 0:42:53 | 0:42:57 | |
that the trip had left him feeling orphaned and melancholic. | 0:42:57 | 0:43:01 | |
Before he leaves Donnafugata, Don Fabrizio has an unexpected visitor - | 0:43:03 | 0:43:07 | |
a noble man from the north arrives to offer him a seat in the new Senate of Italy. | 0:43:07 | 0:43:14 | |
In refusing the offer of his puzzled guest, | 0:43:14 | 0:43:18 | |
Don Fabrizio tries to explain | 0:43:18 | 0:43:20 | |
his troubled relationship with his homeland. | 0:43:20 | 0:43:23 | |
"The Sicilians never want to improve, | 0:43:23 | 0:43:26 | |
"for the simple reason that they think themselves perfect. | 0:43:26 | 0:43:30 | |
"Their vanity is stronger than their misery." | 0:43:30 | 0:43:34 | |
He is quite scathing about certain defects of the Silician character - | 0:43:34 | 0:43:37 | |
the violence, | 0:43:37 | 0:43:39 | |
the superficiality, | 0:43:39 | 0:43:40 | |
the sexual boasting. | 0:43:40 | 0:43:42 | |
Tomasi di Lampedusa is saying to us, "Yes, Sicilians have all these terrible qualities | 0:43:42 | 0:43:47 | |
"and they're proud of them." | 0:43:47 | 0:43:49 | |
He talks in a negative way about these things, | 0:43:49 | 0:43:52 | |
but in a way that the Brits talk about themselves in a negative way, | 0:43:52 | 0:43:56 | |
that makes us sound as if we're virtuous - we're good losers, for example. | 0:43:56 | 0:44:00 | |
We're almost proud when we lose at things! | 0:44:00 | 0:44:02 | |
"In Sicily, it doesn't matter about doing things well or badly. | 0:44:04 | 0:44:08 | |
"The sin we can never forgive is simply that of doing at all." | 0:44:08 | 0:44:14 | |
WALTZ MUSIC PLAYS | 0:44:16 | 0:44:20 | |
The story moves on two years to a ball, | 0:44:34 | 0:44:37 | |
at which Tancredi introduces Angelica to Palermo society, | 0:44:37 | 0:44:41 | |
a society congratulating itself on still existing. | 0:44:41 | 0:44:46 | |
It seems, initially, | 0:44:46 | 0:44:47 | |
as though Tancredi is right and nothing has changed | 0:44:47 | 0:44:51 | |
and everything is going to go on as before, | 0:44:51 | 0:44:55 | |
and the ball is intended to be a celebration | 0:44:55 | 0:44:58 | |
of the fact that nothing has changed. | 0:44:58 | 0:45:00 | |
But it becomes very clear in the course of the ball | 0:45:00 | 0:45:04 | |
that everything has changed, | 0:45:04 | 0:45:06 | |
and the power and the status of the Sicilian nobility is dying, | 0:45:06 | 0:45:13 | |
basically, is decaying, is ebbing away. | 0:45:13 | 0:45:16 | |
Although the ball is as spectacular as ever, | 0:45:16 | 0:45:21 | |
Don Fabrizio is nauseated | 0:45:21 | 0:45:23 | |
by what now seems facile and transient to him. | 0:45:23 | 0:45:28 | |
Don Fabrizio's mood is reflected in his sense of disgust at the food on offer. | 0:45:28 | 0:45:33 | |
The monotonous opulence of the buffet. | 0:45:33 | 0:45:36 | |
Even the food, with these little birds and so on, | 0:45:36 | 0:45:39 | |
which one would have thought are great luxuries, | 0:45:39 | 0:45:42 | |
are written about as though they are something really rather horrible | 0:45:42 | 0:45:46 | |
and starting to go rotten. | 0:45:46 | 0:45:48 | |
The cucina baronale that had delighted him | 0:45:48 | 0:45:52 | |
in the form of a macaroni pie at Donnafugata | 0:45:52 | 0:45:54 | |
now leaves a bad taste in his mouth | 0:45:54 | 0:45:57 | |
and he searches for something sweet. | 0:45:57 | 0:46:01 | |
And this display here, wonderful display, | 0:46:01 | 0:46:03 | |
was exactly what the Prince would have found at the ball. | 0:46:03 | 0:46:07 | |
You can read the history of Sicily here. | 0:46:07 | 0:46:10 | |
Arab cassata, French rum babas, Spanish chocolates. | 0:46:10 | 0:46:16 | |
In this punishing climate, | 0:46:16 | 0:46:18 | |
it is sugar that is the favourite preservative, and in this respect, | 0:46:18 | 0:46:22 | |
both Don Fabrizio and Lampedusa were typical Sicilians - | 0:46:22 | 0:46:28 | |
they have a sweet tooth. | 0:46:28 | 0:46:31 | |
Now, this may seem a bit strange, but this is a common breakfast in Palermo. | 0:46:31 | 0:46:36 | |
Ice cream in a brioche roll. | 0:46:36 | 0:46:38 | |
You have to remember, these poor people have to suffer a summer | 0:46:38 | 0:46:42 | |
which Lampedusa said was as long and glum as a Russian winter. | 0:46:42 | 0:46:48 | |
During the Second World War, Lampedusa lost his palace to an American bomb. | 0:46:51 | 0:46:56 | |
His wife, Licy, lost her castle in Latvia to the invading Russians. | 0:46:56 | 0:47:01 | |
When Giuseppe's mother died in 1946, Licy finally came to Palermo, | 0:47:01 | 0:47:09 | |
and they moved into a dilapidated palazzo in the Kalsa, | 0:47:09 | 0:47:13 | |
the Arab heart of the old city, | 0:47:13 | 0:47:16 | |
that had once belonged to Giuseppe's great-grandfather. | 0:47:16 | 0:47:19 | |
The house had the all-important Lampedusa pedigree. | 0:47:19 | 0:47:24 | |
Starting with an apartment on the second floor, | 0:47:24 | 0:47:28 | |
the Lampedusas gradually acquired more and more of the building. | 0:47:28 | 0:47:32 | |
He could never replace the Palazzo de Lampedusa, but this became home. | 0:47:32 | 0:47:37 | |
Lampedusa's wife, there was nothing much Italian about her. | 0:47:37 | 0:47:41 | |
She was a rather gruff Baltic lady, and a Freudian psychoanalyst. | 0:47:41 | 0:47:46 | |
And she didn't much like Palermo, and the people of Palermo didn't much like her. | 0:47:46 | 0:47:51 | |
He had a very particular schedule of his life, | 0:47:51 | 0:47:55 | |
because she was all the night long looking at the treatments | 0:47:55 | 0:48:00 | |
she was developing with her patients. | 0:48:00 | 0:48:03 | |
She went to sleep about...at dawn, | 0:48:03 | 0:48:07 | |
6 o'clock in the morning, | 0:48:07 | 0:48:08 | |
he, um, half-past-eight, was on the street | 0:48:08 | 0:48:13 | |
and went up walking to three big coffee houses that were in the centre of Palermo. | 0:48:13 | 0:48:18 | |
Except Mazzara, the other two have disappeared. | 0:48:18 | 0:48:21 | |
In the 1950s, the cafe Mazzara became Lampedusa's regular morning haunt. | 0:48:21 | 0:48:29 | |
He carried with him a bag, crammed full of books, | 0:48:29 | 0:48:32 | |
including a volume of Shakespeare, | 0:48:32 | 0:48:35 | |
just to calm him down in case he saw something disagreeable. | 0:48:35 | 0:48:39 | |
While having a leisurely breakfast, he would read, | 0:48:39 | 0:48:43 | |
sometimes for several hours. | 0:48:43 | 0:48:45 | |
These solitary breakfasts were often interrupted by his young cousin, | 0:48:46 | 0:48:51 | |
Gioacchino Lanza, and his friends. | 0:48:51 | 0:48:54 | |
He was in a bad crisis, personally, economically, | 0:48:54 | 0:48:57 | |
and through these young people he met, | 0:48:57 | 0:48:59 | |
he recovered an attachment to life, | 0:48:59 | 0:49:02 | |
and so he started giving lessons. "Let's start with English." | 0:49:02 | 0:49:05 | |
At the beginning, they are really grammar lessons with monosyllables, | 0:49:05 | 0:49:10 | |
as you do in British - pit, pat, pot, put, and so on! | 0:49:10 | 0:49:14 | |
But then they started reading books together, | 0:49:14 | 0:49:18 | |
and he made a run-through, | 0:49:18 | 0:49:21 | |
an amusing, so to say, course of English literature. | 0:49:21 | 0:49:26 | |
If he had an idea that was more amusing, he would go with the idea. Surely! | 0:49:26 | 0:49:32 | |
After breakfast, stocking up with pastries for the journey, | 0:49:34 | 0:49:38 | |
he crossed the street to Flaccovio's bookshop, | 0:49:38 | 0:49:41 | |
where he spent the rest of the morning browsing. | 0:49:41 | 0:49:46 | |
Still selling well. | 0:49:46 | 0:49:48 | |
'Lampedusa's only luxuries were the books he bought. | 0:49:48 | 0:49:51 | |
'He was nervous about admitting the cost to his wife, Licy, | 0:49:51 | 0:49:55 | |
'and often claimed that they were in a sale | 0:49:55 | 0:49:58 | |
'or he had been given a discount because they were damaged. | 0:49:58 | 0:50:02 | |
'He would occasionally break his journey home here, | 0:50:02 | 0:50:05 | |
'at the Pizzeria Bellini, for lunch with friends, | 0:50:05 | 0:50:08 | |
'knowing that Licy would be asleep into the afternoon. | 0:50:08 | 0:50:12 | |
'But, more commonly, his bag of buns would have to last him until dinner-time.' | 0:50:12 | 0:50:16 | |
Sadly, for someone as greedy as Lampedusa, she was a terribly bad cook, | 0:50:16 | 0:50:21 | |
and desperate to reproduce Baltic food, | 0:50:21 | 0:50:24 | |
even though it was impossible in Palermo to find it. | 0:50:24 | 0:50:28 | |
She made a disgusting olive-oil paste which she insisted tasted exactly like caviar. | 0:50:28 | 0:50:33 | |
Lampedusa's other great consolation were his visits to his mother's family. | 0:50:33 | 0:50:39 | |
His cousin, Lucio Piccolo, had published a volume of poetry | 0:50:39 | 0:50:43 | |
which, in 1954, won a minor literary prize. | 0:50:43 | 0:50:47 | |
This odd pair travelled to the festival at San Pellegrino to collect the award. | 0:50:47 | 0:50:54 | |
This journey seems to have been the spark he needed. | 0:50:54 | 0:50:58 | |
He later wrote to a friend, "Being mathematically certain that I am no more a fool than Lucio, | 0:50:58 | 0:51:05 | |
"I sat down at my desk and wrote a novel." | 0:51:05 | 0:51:08 | |
Lampedusa wrote in cramped blue Biro, in lined notebooks. | 0:51:08 | 0:51:14 | |
One of his pupils offered to type the manuscript at his father's legal office. | 0:51:14 | 0:51:20 | |
After buying them lunch, Lampedusa dictated the novel during the afternoon siesta. | 0:51:20 | 0:51:25 | |
In the hot, empty office, sweating and chain-smoking, it became obvious that he was not well. | 0:51:25 | 0:51:33 | |
Lampedusa was never healthy. He didn't take exercise, he was fat, | 0:51:33 | 0:51:37 | |
he ate too much and he smoked incessantly. | 0:51:37 | 0:51:40 | |
He had this lung problem - he thought it was emphysema - he couldn't breathe well. | 0:51:40 | 0:51:45 | |
Then he was told, "Actually, it's lung cancer." And he, er, he was pretty stoic about it, | 0:51:45 | 0:51:50 | |
obviously very upset, | 0:51:50 | 0:51:52 | |
but he carried on, and he went on writing when he felt well enough. | 0:51:52 | 0:51:55 | |
There is very little comfort to be gained from the next chapter of the book. | 0:52:10 | 0:52:15 | |
It's 21 years later, and Don Fabrizio is dying. | 0:52:15 | 0:52:19 | |
Having seen a doctor in Naples, | 0:52:19 | 0:52:22 | |
he is too ill to complete the journey to the Villa Salina. | 0:52:22 | 0:52:26 | |
In the heat of the afternoon, meeting his family at Palermo station, | 0:52:26 | 0:52:31 | |
he collapses and he is taken to a hotel. | 0:52:31 | 0:52:33 | |
"Every word was weighted," said Lampedusa. | 0:52:33 | 0:52:37 | |
He set Don Fabrizio's death in a real hotel, the Trinacria. | 0:52:37 | 0:52:42 | |
Before the war, the sea came right up to this terrace - | 0:52:42 | 0:52:45 | |
Trinacria, meaning three-cornered, was the Greek name for Sicily. | 0:52:45 | 0:52:50 | |
So the Prince is dying, | 0:52:50 | 0:52:53 | |
surrounded by his family in the Hotel Sicily, listening to the sound of the waves lapping on the shore. | 0:52:53 | 0:53:00 | |
"He had said that the Salina would always be the Salina. | 0:53:00 | 0:53:04 | |
"He had been wrong. The last Salina was himself. | 0:53:04 | 0:53:08 | |
"That fellow Garibaldi, that bearded Vulcan, had won after all." | 0:53:08 | 0:53:15 | |
Through this bustle of people | 0:53:15 | 0:53:17 | |
comes this beautiful young woman, | 0:53:17 | 0:53:20 | |
in a wide bustle and a straw hat | 0:53:20 | 0:53:23 | |
and a travelling gown, | 0:53:23 | 0:53:27 | |
and looks foxy, | 0:53:27 | 0:53:29 | |
and he realises that this is HER. | 0:53:29 | 0:53:34 | |
This is IT. | 0:53:34 | 0:53:37 | |
"It was she, the creature, forever yearned for, | 0:53:37 | 0:53:41 | |
"coming to fetch him. | 0:53:41 | 0:53:43 | |
"When she was face to face with him, | 0:53:43 | 0:53:45 | |
"she raised her veil, and there, chaste, but ready for possession, | 0:53:45 | 0:53:50 | |
"she looked lovelier than she ever had when glimpsed in stellar space. | 0:53:50 | 0:53:55 | |
"The crashing of the sea subsided altogether." | 0:53:55 | 0:54:00 | |
On August 23rd, 1955, Lampedusa wrote in his diary that the book was finished. | 0:54:05 | 0:54:12 | |
Now he needed to find a publisher. | 0:54:12 | 0:54:15 | |
The question of publish or not publish, we knew nobody. | 0:54:15 | 0:54:19 | |
We knew practically nobody abroad, | 0:54:21 | 0:54:24 | |
out of Palermo! | 0:54:24 | 0:54:25 | |
It was rejected twice, the second time when Lampedusa | 0:54:25 | 0:54:29 | |
was on his deathbed, and he was naturally depressed about it. | 0:54:29 | 0:54:34 | |
But he was quite philosophical about it - he said, erm, | 0:54:34 | 0:54:38 | |
"As a review, it's not bad but they're not gonna publish it." | 0:54:38 | 0:54:42 | |
Lampedusa was by now in a clinic in Rome for treatment. | 0:54:42 | 0:54:46 | |
The second rejection letter described the novel | 0:54:46 | 0:54:49 | |
as rather old-fashioned, unbalanced and too essay-ish. | 0:54:49 | 0:54:55 | |
Lampedusa was denied the comfort he devised for his main character - | 0:54:55 | 0:55:00 | |
he never returned to Palermo. | 0:55:00 | 0:55:03 | |
The last Prince of Lampedusa died in a Rome clinic a few days later. | 0:55:07 | 0:55:12 | |
He was 60 years old. | 0:55:12 | 0:55:14 | |
Eight months later, by a circuitous route, | 0:55:21 | 0:55:24 | |
the manuscript came to the attention of Giorgio Bassani, | 0:55:24 | 0:55:27 | |
working for the publisher Feltrinelli. | 0:55:27 | 0:55:31 | |
He wrote to Licy in Palermo. | 0:55:31 | 0:55:33 | |
From the first page, I realised I had found myself before the work of a real writer. | 0:55:33 | 0:55:40 | |
Il Gattopardo was finally published in November 1958 and became a runaway success. | 0:55:40 | 0:55:47 | |
He was proud of it, because he was absolutely convinced | 0:55:47 | 0:55:51 | |
that he had written an artwork. | 0:55:51 | 0:55:53 | |
He couldn't think that it would be a terrific success, | 0:55:53 | 0:55:56 | |
that's another affair, | 0:55:56 | 0:55:58 | |
but it was a good book. | 0:55:58 | 0:56:00 | |
Consider, I've read so many books, this is a good book. | 0:56:00 | 0:56:05 | |
And I've been extraordinarily moved by the book, | 0:56:05 | 0:56:11 | |
and by him. | 0:56:11 | 0:56:13 | |
Erm... And to think of this elderly man | 0:56:13 | 0:56:20 | |
who has never had any books published, or anything, | 0:56:20 | 0:56:23 | |
in his long overcoat, | 0:56:23 | 0:56:25 | |
sitting in this fusty cafe in the middle of Palermo, | 0:56:25 | 0:56:29 | |
um, writing with a ballpoint in an exercise book, | 0:56:29 | 0:56:34 | |
er, I find just extraordinary. | 0:56:34 | 0:56:39 | |
Because don't you feel, that by the end of the book, you think, | 0:56:39 | 0:56:44 | |
"What is life about?" | 0:56:44 | 0:56:48 | |
A few hundred yards from his old home, there is now a cafe and bookshop devoted to The Leopard, | 0:56:48 | 0:56:54 | |
with a little exhibition of photographs from his life. | 0:56:54 | 0:56:58 | |
It's easy to feel sorry for Giuseppe Lampedusa. | 0:56:58 | 0:57:02 | |
He died a few days after receiving a clumsy letter rejecting his book. | 0:57:02 | 0:57:08 | |
And he never knew the success he would achieve. | 0:57:08 | 0:57:11 | |
"In Sicily, it doesn't matter about doing things well or badly. | 0:57:11 | 0:57:16 | |
"The sin we can never forgive is simply that of doing at all." | 0:57:16 | 0:57:21 | |
He had done something, and he had done it well. | 0:57:21 | 0:57:26 | |
Subtitles by Red Bee Media Ltd | 0:57:42 | 0:57:46 | |
E-mail [email protected] | 0:57:46 | 0:57:49 |