"Who the hell wants to hear actors talk?" -- Harry Warner, of Warner Bros. (1926) The Fire (Il fuoco (la favilla - la vampa - la cenere)) A privileged poetess plucks a peasant painter from his mundane seclusion, flying him to the height of passion in their brief encounter. Breathes new life into a classic “femme fatale theme” (a.k.a., “misogynistic influence” that may be better left dead) by using creative cinematography and careful choreography of the poetess' movements. The result explodes with a visual extravagance within its minimalist domain and, like the painter, the viewer is seduced into an unquenchable thirst for more. Online: Internet Archive She drives him deep into a yonic symbol Stovepipes off to good-looking performers that aren't afraid to go Raw Ugly