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.
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