Italian cinema as a source of prestige sought recruitment for the great screen stars of the theater. So did many of the great divas, but also important actors will even directed their steps towards the direction also. One of the operations in that sense most talked about was the hiring of Eleonora Duse (1858-1924), something like Sarah Bernhardt Italian international reputation, although more and withdrawal of the theater. Producers Arturo Ambrosio and Giuseppe barattolo managed to convince and the actress herself was born a proposal: the adaptation of the novel Cenere ("Ashes") of Grazia Deledda, who years later would be awarded the Nobel Prize for Literature (1926). The role of Duse was such that in the credits his name appears next to the title of the film, as a top star and excuse the project. And even appear immediately after a word of Deledda dedicated to the actress and the main theme of the work. The film was made in 1916 by Febo Mari (1884-1939), who also handles the script and keeps to himself the other role.
The story is not great thing, a typical drama: A woman, Rosalia, is forced to abandon her child, Anania, next to the factory where the father of it for the boy might have a future. And become a man, from Rome, where he studied, Anania still longing for his mother, who in turn reminds his son wandering through the countryside. When people return the child for his mother and to meet Margherita, his love since childhood. After days of searching, mother and son are reunited, but Anania not forgive his mother's abandonment and running of the home.
The pain occurs in Rosalia attitude leads him to despair and death. At the last moment, Anania kisses the forehead of his mother, dead in the arms of several pastors.
The pain occurs in Rosalia attitude leads him to despair and death. At the last moment, Anania kisses the forehead of his mother, dead in the arms of several pastors.
The film is very exaggerated. It focuses a lot on that drop-reunion, but the 37 minutes that allow the viewer to experience the pain of mother and child, with no end to see what looks Margherita in this story. The actress is good but its interpretation contained, given the small gesture, that sometimes comes as a great virtue, stifles some passages with a lack of pace.
The world reduced to the difficult relationship between mother and son also has a unity of action, just two or three scenarios in people, and mainly one: the family home, the highest austerity. Roman's stay Anania only have the point of a window, and people, some scrub and the factory. This is presented in a beautiful, soft dolly, an exception (there are also some interesting off-field or some isolated expressive level) in a movie certainly static, in which the theater is not just joined well with the film.
was the only Duse experience in film, perhaps because of his advanced age (he would die eight years later) or because they may not like the idea. In any case, the film tends to have its lines in the books film history, not so much by their virtues, as it constitutes a clear example of the transfer of talent between the theater and film at that time. Keep in mind that even then there was the consideration of film as a show less noble than the theater, the real reason for the meeting of the bourgeoisie. The emergence of the great figures on the big screen theater was both a complementary vehicle to shine in their careers and prestige to a form of cinema as art.
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