"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.
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 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.
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