But here in Voidsville, madness is the starting point, so no problemo. Here, a work has a noir element if it features any of these three noir components:
Carmine Gallone (director)
Domenico Grimaldi (cinematographer)
Nino Oxilia (writer)
Lyda Borelli (lead)
Cecyl Tryan (lead)
Fulvia Perini (lead)
Augusto Poggioli (lead)
Pina Menichelli (lead)
Società Italiana Cines (production)
The frequent visual jumps and disconnects make it obvious that parts are missing from this fragmented restoration. As further evidence, one of the three character names listed in the opening credits (“Richard Ruggero”) - presumably a main character - doesn't appear in any subsequent title card. Yet, unlike Malombra [1917], there is no source material to refer to for clarification of the story. In fact, it's possible that even if all fragments existed and were correctly assembled, the result would still be confusing as the story lacks depth and solid construction. It feels less like a coherent story, more like a string of cliche hacks quickly thrown together merely to capitalize on a star's appeal (by crew who didn't even spare the time to name the characters!).
But who cares about story? We're here to see the diva flammin' in high fashion, twisted into sultry poses (even dancing!), with that dreamy gaze that wails her tragic fate of being too hip for this world that doesn't deserve her. Lyda in motion is all the story we need...
Francesca Bertini (director/lead/writer)
Gustavo Serena (director/lead/writer)
Salvatore Di Giacomo (author)
Luciano Albertini (lead)
Carlo Benetti (lead)
Caesar (production)
Assunta has guy problems. Her ex can't accept that he's been dumped, so he still skulks around flashing sexy poses (that sometimes hit the mark with Assunta). Her fiance works out of town and is tormented by suspicions, jealousy, and violent impulses - yet she remains attached to him. Clearly trouble lurks, yet Assunta's responses to her troubles are not melodramatic but enigmatic - as if helplessly driven to a cursed destiny. In short, this one's for noir fans.
Carmine Gallone (director)
Giovanni Grimaldi (cinematographer)
Antonio Fogazzaro (author)
Lyda Borelli (lead)
Amleto Novelli (lead)
Augusto Mastripietri (lead)
Società Italiana Cines (production)
Marina di Malombra is the beautiful and sophisticated young niece of a count. She could be described in the terms used in a 1967 work : "dominant, secure, self-confident, nasty, violent, selfish, independent, proud, thrill-seeking, free-wheeling, arrogant females, who consider themselves fit to rule the universe". Marina becomes convinced she is the reincarnation of a madwoman out for fatal revenge. Corrado Silla is a sensitive young man born into nobility, but now on the verge of poverty. He longs for fame in the world of arts and letters, but has failed. Marina taunts, scorns, then publicly humiliates him. Thus, Silla is ready to sign up as Marina's love slave, but his pride gets in the way. This is the love story of Marina and Silla. Lyda Borelli's spellbinding performance of Marina's metamorphosis, and Amleto Novelli's subtle portrayal of a man torn between his pride and his passion for (and fear of) a dominant woman, both captured with the right direction and photography, make this a classic.
Wu Yong-Gang/吳永剛 (director/writer)
Hong Wei-Lie/洪偉烈 (cinematographer)
Ruan Ling-Yu/阮玲玉 (lead)
Zhang Zhi-Zhi/章志直 (lead)
Li Keng/黎鏗 (lead)
Lianhua (production)
Noir formula: a flawed hero, trapped in shadowy troubled nights, unable to escape. But here the hero(ine) is a prostitute, the setting is not America's night streets but Shanghai's, and the story is told as a silent melodrama, with few titles (until the social commentary kicks in). With a small cast and minimal sets, this work is proof that sometimes less is more.
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