In this Felliniesque allegory of racial and class tension, Marcello Mastroianni plays the title role, a deposed prince living in exile in a run-down London mansion. Watching birds from his window and ignoring the plans of hangers-on to restore him to his lost throne, Leo's gradual involvement with his impoverished black neighbors leads to a climactic act of self-dispossession. One of Boorman's unsung masterpieces, Leo the Last marks an early highpoint in his experiments in art direction. Decor, costumes, and backgrounds are all black, white or brown, and even the exteriors are severely desaturated. The soundtrack is even more experimental, revealing the director’s interest in the musical collages of composer Luciano Berio.