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TIGRIS (1913) AND IN ITALY

Referring to a short Pastrone we talked about the close collaboration of Second Chomón with this filmmaker in his most important. To a large extent, the start of such collaboration, at least in its most significant (as is already involved in Chomón Father in 1912) takes place Tigris (1913). A year earlier, Chomón Second, he does not see much prospect in Barcelona to develop his film, accepted in May an offer from the Itala Film to work on the company, after the first contacts in February. Means the beginning of a relationship that makes for Italian cinema decisive collaboration titles like Cabiria (1914), Il fuoco (1915), the series on Maciste, Tigre reale (1916), War and Momi dream (1917). Pastrone withdrawing at the end of World War I meant a blow to the continuity of the production Chomón and official since his dismissal (1922) AC collaborators in France and Italy (where he will shine Maciste into hell, 1926).

Recommended, apparently by Lucien Nonguet, also in Italy after its passage by the Pathé Chomón is hired by Pastrone because it meets the expectations of Italian, in his search for an experienced versatile, able to assume managerial and operating the camera, dealing with lighting and photography, make up trick and make all kinds of solutions techniques in both shooting and before the film. Pastrone rarely publicly acknowledge his great contribution to Italian silent film, as a matter of pride, but it existed.

already working in 1912 on Father and consolidates its participation in the Tigris, a production of persecution and costumes, which has only two points of interest: scenes designed by Chomón and curiosity to see, as announced at the very beginning of the film, if there was any doubt, a single actor playing three characters, "including two at the same time on screen, something that would be very novel at the time. Not that vary much characterization and actually play disconcert the viewer, with beards "real" and false, and continues to transform the same actor. The joint appearance on the same level of several of these three characters is the job of faking, and hence Chomón.

scenes that are most involved in the pioneer Aragon are mainly those requiring trick or special effects light. Among the first highlights the nightmare of inspector Roland, where he plays with transparency and the contrast between the inspector who dreams (real plane) and the dream that seems to break into a screen that comes out of reality itself. More striking even than this scene is the famous scene that pits cops and robbers in the dark, you see only light flashes and bursts of gunfire prompted by unique screen presence. A similar starting point, but enhanced by the technical development of both the photography and sound, Fritz Lang will serve to make one of the great moments of The Testament of Dr. Mabuse , and in the early 30's.

Some of the titles that helped Chomón the we will see in the coming weeks, but everyone remembers above all a degree, discussed in our next post dedicated to the Italian silent cinema: Cabiria. This collaboration, as in other cases, film historiography soon recognize, even in these parts.

3 Combination Diet Pill From Brazil

Chomón MA L'AMOR MIO NON MUORE (1913) by Mario Caserini

"Ma l'amor mio non muore ...", so goes the final letter of the protagonist of this drama as a form of time before they leave before their lost loved life. The film is a product tailored to Lyda Borelli, one of the great figures of a time when "the divas" were in themselves a film genre, a brand standard. In fact, the success of this title and the actress gave birth to the phenomenon.

The Borelli (1884-1959), which will also see in Satanic Rhapsody (1915) and Malombra (1917), this film took the opportunity to become known in the world of film ( That same year, 1913 was his debut with Memory dell'altro , with the same partner : Mario Bonnard). Before joining the industry and had made a name and had opened a type of female character in the drama, which debuted in 1901, sharing tables with another of the great divas: Eleonora Duse. The Gloria Film hired to perform in front of cameras the same repertoire of emphatic gestures and attitudes to faint he had shown on stage. All for love, and not by type Superathletes but rather timid, sickly, possibly aristocrats. Had enough with a few years running (1913-1918) to become part of the imaginary movie buff of several generations of Italians, a career ended after her marriage with businessman Vittorio Cini.

Set in the Germanic world, the film begins with Prince Maximilian of Wallenstein ( Mario Bonnard, who was later director) to receive an invitation to attend a dinner at the home of Colonel Julius Holbein ... Elsa and her daughter (Lyda Borelli). While Colonel Holbein uses other hand to discuss the details of military strategy in a plane, Elsa Prince serves together with a piano and expresses his love. In an oversight, the prince also made with the plane and said goodbye to their hosts. Elsa has a passion for music that reality to be hired a theater, where he will act with a stage name, not to soil the reputation of his father, a senior official in the administration. Maximilian Elsa and recross several times at random until it triggers a new event is triggered and love. A letter alleging that singer Elsa Maximilian causes rejection and despair of Elsa, who writes a farewell letter and desperate love. All this leads to suicide of the girl, who can not help the prince, who has come into the clubhouse sorry. As seen, the plot does not go much beyond the romantic dramas heirs of nineteenth-century theatrical tradition that continued until the early twentieth century, until World War I put in the eyes of the world the evidence of a world and new ways of doing things.

The acting is, from our perspective, clearly affected, but full of energy and knows how to convey the madness of love. There is no doubt that the weight (the interpretive means, and the focus of the story) takes the actress, who stars in most nearby frames. This is, for example, both times coming out acting in theater, with an interesting point of view: the camera is placed in a privileged place of the stage, just behind the actress, to highlight it at the same time public and the environment as a graphical way to capture that "dominates the stage." Another moment of even greater role, leading to one of the most beautiful drawings of the film occurs at the moment when Elsa tries to write the letter to Maximilian, dressed in an elegant, yet sad, black suit writes very close to the camera, sitting on the coffee table in the train station, which appears on his background in perspective. It is part of a beautiful plane, but also information for the story: the letter and its place in train are inseparable.

shadow construction, predominantly in black, this scene contrasts with the white tulle almost spiritual, with which it is constructed sequence of the two lovers reunited. She rides in a horse and stops at a house built of marble to play the piano. Maximilian, sitting on the steps, who has not noticed the presence of Elsa, hear his voice and his music and go inside. Ecstasy comes and recreation lovers something mystical for a moment appears inside a church, with a deliberately light filtered. This building is also the stage, but on the outside, a sequence that sounds like a modern camera. Occurs at the time the theater manager tried to convince the actress to return to action. Found on the steps, seen from above. Then, in conversation and walks, bordering the terraces of the mansion, with the camera placed from a more distant, up the stairs while the camera is moving slightly to the left, to stand at the prospect that interest you. And once the two characters above, the camera stays in one position, waiting for Elsa and entrepreneur come to it, to end the conversation and sequencing.

Despite the modernity and effectiveness of the narrative, obviously the most memorable of the film are the scenes of passionate love between Borelli and Mario Bonnard: first a famous kiss, which she approaches her loved with all available arms, which seem more than two, then the desperate end with her falling on a couch and he suddenly going mad. You have to look those scenes with distance, appreciating its composition, halfway between the theatrical and the pictorial, heirs both a sense of what "romantic" in times when the concept had entered almost a caricature.