1915 was the year of Assumpta Spina (the film that we will devote our next entry) but also a new starring vehicle for Lyda Borelli, actress exaggerated gestures and passions which already had the pleasure (or not) to know in Ma l'amor mio non muore (1913) under the direction of Mario Caserini. Here goes Oxilia Nino, the name was known Oxilia Angelo Agostino (1889-1917) who cultivated poetry and drama and made forays into film, with an early version of Giovinezza Addio! (1913) and other titles like corpses vivente Il (1913), The monella (1914), Sangue Blu (1914) and the flag nemica Sotto (1915), no success comparable to that achieved Rapsodia Satanica , production of the Cinemas. His career and his life was cut short by World War I, falling dead at the Monte Tomba, during the battle of Caporetto.
Rapsodia Satanica is an adaptation of the eponymous poem by Fausto Maria Martini (which can be read here ), a transposition in the female subject of Faust and the human longing for eternal youth: an old woman longs for his youth and yearns to be like Fausto in front of a table that represents Mephisto. This leaves the table in search of prey, which returns to youth, provided they do not fall in love. The appearance of two brothers in love with her, leading to the tragedy with the death of one of them. In the end, she will go to the call of love and thus to trap Mephisto has prepared him: again old, died and his soul becomes the property of Mephisto.
Despite the attractiveness of its suggestive title and plot, the film pulls over to the fantastic melodrama, a film "diva" seized by the love of devils and supernatural dreams. If it were not for the brilliant final installment, full of visual cues, it would be a movie of the many that were made at the time, associated with old-fashioned values \u200b\u200band theater techniques. So unrequited passion between the young and one of the two brothers, with overacting and gestures a lot of empathy between film removed and spectator. The tape back after the death of one of her suitors and melancholy moments of Borelli, who can then communicate the attitude of a woman with no soul (or rather, with a borrowed soul). The final section, as we have said, it is about to meet our expectations. The girl finally decided to leave his farm, he looks in the mirror (a set of identities in a sophisticated composition because both reflect the image of the woman who looks in the mirror are also reflections of the young woman who is out of plane looking in many mirrors) is covered with a veil that pervades both his figure as to the brightness of the scene, blurring the whole atmosphere spiritually. Go the appointment with a mirage created by Mephisto, represented by a rider who stand on a hill, a shadowy figure just where nothing materialized. Everything is crowned with an embrace with her lover (actually Mephisto) and return to its old appearance after leaving the layer "protector" of Mephisto. The old dies and falls into a pose clearly pictorial, as it had been before the death of one of the two brothers on the stairs of the house of the girl.
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