Probably no film of any length has such a simple story as La Gioconda, screened at Urbanora House one day last week. But although it is so simple a theme, without even the advantage of novelty, the artistic settings and refined acting make it most attractive. Briefly it is the story of an artist falling in love with bis model. Both in song, verse, story, and on the stage La Gioconda the interest centres more in the anguish of the artist's wife, which is really the issue in the play that commands attention and admiration. The author, Gabriele D'Annunzio, is a great Italian poet, and consequently the setting, scenery, and all the accessories belong to that country. There is one remarkable change, however, to an episode in the life of Pharoah with all the magnificence of those far Eastern days.
Italian Surroundings and an Egyptyan Vision
Incidentally the film furnishes excellent views of the ancient architectural glories of Rome, which pass as a panorama on the screen. We have every praise for the beautiful Italian, scenes, with some equally beautiful seashore studies, the latter so realistic that one almost feels the freshness of the breeze and gently lapping waves. Later on, however, when the mummy found by the persecuted monk comes to life and reveals herself as one of Pharaohs' wives, there are episodes of the splendour of the beautiful woman's entourage. The interior of the palace is luxurious to a degree, whilst the exteriors showing the angry and excited mob, are also most effective. We almost forgive the fact that these scenes form no part of the plot, beyond explaining the origin of a ring given to La Gioconda by thè Father Superior of the convent visited. Another quite different point is almost as admirable. There is a total absence of stage grouping and their movement to allow the principal figure to predominate. Everything is perfectly natural from start to finish.
The Story and. the Actors.
In reality it is a three part play, the interest centering entirely round the sculptor, Lucio, his wife Sylvia, and La Gioconda. Lucio falls in love with the latter, both as a model for his great statue and as a woman. The fascination grows in spite of his wife's efforts to restrain it. La Gioconda , at first a cold proud woman of great beauty, develops a passion for Lucio which becomes so threatening to him that to end his troubles he attempts suicide. His wife nurses him back to life, love, and home. Mercedes Brignone as Lucio displays emphatically the emotions torn by conflicting affections, and Flora Celiatti teaches us the love of husband and child, her patience and forbearance. Helen Makowska infuses great dramatic feeling into La Gioconda, more especially in the passionate scenes which close the play.
It is a pretty story although a drama, and it is one that could almost do without subtitles, so clearly told is it. The drama is in four reels, and the release date is November 6th.
from The Kinematograph and Lantern Weekly
(La Cinematografia Italiana ed Estera, Torino 15 settembre 1916)
Teresa Antolin, 14.07.2009
Production Company: Società Anonima Ambrosio, Torino 1916
Director: Eleuterio Rodolfi
Screenplay: La Gioconda (1899), Gabriele D'Annunzio
Cast: Elena Makowska (La Gioconda); Umberto Mozzato (Lucio Settala), Mercedes Brignone (Silvia)
Length: 1381 m.
Format: 35 mm
Teresa Antolin, 14.07.2009
