 |
| Henri Fescourt : Mandrin 1–8 (FR 1924). 1932 Photolithograph Mandrin 1924 French Silent Film Scene Henri Fescourt AEC1. Photo from: Period Paper. |
Il Cinema Ritrovato continued in its threefold grandeur. Three different programs were screening simultaneously in the main venues Arlecchino, Lumière 1 and Lumière 2. At night, there were big special screenings at Piazza Maggiore, and there was a Chaplin gala at Teatro Comunale. Because the alternatives were all very good, it was painful to realize that it was possible to see but a third of what was on offer. The parallel programming might be too good also from the viewpoint of the contributors to the highly ambitious shows?
The tribute to large formats went on with more films on CinemaScope plus a tribute to VistaVision, the format shot horizontally over the width of eight perforations, launched in 1954. VistaVision (Vertigo, The Searchers) lasted only seven years, and the output was less than a hundred films. Only two films were both shot and projected in VistaVision (Strategic Air Command, White Christmas). If last year's programming revelation was that there are hardly any genuine full-width CinemaScope prints available with good colour, this year reminded us that VistaVision was largely a dream to begin with, but good 70 mm prints from VistaVision masters might do it justice.A tribute to 70mm was launched on the Piazza Maggiore with two films. To sceptics the superb technical standards of the open-air screenings came as a surprise. Jacques Tati's Playtime really looked worth the trouble needed for the 70 mm restoration in its ultra-realistic vision of a synthetic world.
Each day started again with a "breakfast serial", this year with Henri Fescourt's picaresque Mandrin, in eight parts, set during the ancient régime, with Louis XV and Voltaire among the protagonists. Mandrin was a French Robin Hood of the 18th century who challenged the establishment with his derring-do. There is an interesting cross-dressing storyline involving Mandrin's female partner Tiennot, who always dresses as a man, harbours a secret love to Mandrin, and is banished by Mandrin a soon as she dresses as a woman. Besides this little-known serial, the tribute to Fescourt (1880–1966) included his magisterial Les Misérables, still maybe the most comprehensive and best interpretation of Victor Hugo's romantic epic. There was a glimpse of his Monte-Cristo, and the fine realistic Tunisian story La Maison du Maltais.
The Gaumont Story continued with a reprise of the grand restoration of Léonce Perret's Koenigsmark. The third Gaumont house director, Jean Durand, was honored by an important book by Francis Lacassin, and a continuation to a tribute to his career in genres as diverse as the Western and the comedy.
Homages to stars are a Bologna trademark. This year, the great Dane Valdemar Psilander was celebrated with a retrospective mounted by Det Danske Filminstitut. The handsome and versatile actor was one of the world's biggest stars during his career of six years, 1911–1917, and he starred in 83 films before he died at 32. Klovnen (1917) was one of the most impressive films in the retrospective. It was interesting to compare Psilander to Ivan Mosjoukine, to whom tribute was paid to in Le Giornate del Cinema Muto last year: both handsome in the same way, well-tailored, great horsemen, the ardent look in their eyes irresistible to women, yet both able to act with subtle nuance and to create complex, even tortured characters. 27 Psilander films survive. (From the programme note by Lisbeth Richter Larsen). – There was also a tribute to Alida Valli, still alive but not present in person, focusing on her formative years in the Mussolini era, before Hollywood.
The Dossiers concept, launched in Bologna last year, went on with unknown or rare discoveries from four fascinating directors. Kevin Brownlow and Patrick Stanbury presented a rich selection from the archives of Cecil B. DeMille, unique among the great directors to preserve everything. Thomas Christensen and Casper Tybjerg introduced the Carl Th. Dreyer dossier, which included his unfinished short Vandet paa landet, a sober documentary on the importance of clean water. Dossier Ingmar Bergman, introduced by Jon Wengström, included behind-the-scenes views from his films screened publicly for the first time; in the context of the newly established Ingmar Bergman Foundation more discoveries of this kind might be forthcoming. Dossier Jean Renoir was introduced by Janet Bergstrom and included three marvellous "Renoir on Renoir" TV programs from the early 1960s where Renoir speaks of his father Auguste Renoir and the almost unknown French version of his war propaganda film Salut à la France.
The Chaplin Project went on with gala screenings of City Lights and Pay Day, a Keystone selection of four restored films, two of them partially based on material from the Finnish Film Archive, and a special programme of outtakes from City Lights.
The most ambitious theme, "a festival in the festival", was A Hundred Years Ago: Cinema in 1904, curated by Mariann Lewinsky-Farinelli. Besides films, the programs included slides and musical recordings of the era. Whereas Tom Gunning last year approached the year 1903 from the viewpoint of the development of early cinema, Mariann Lewinsky-Farinelli examined cinema in 1904 from the viewpoint of public life. And where Tom Gunning emphasized the Anglo-American development, Mariann Lewinsky focused on continental Europe dominated by France. The splendid retrospective ranged from scientific films to the fantastique, even including a section of "risqué" films (innocent by today's standards). There were several beautiful restored films like the coloured Christophe Colomb by Pathé, from the AFF / CNC (Bois d'Arcy).
Not included but related was a program of early surgical films by Eugène-Louis Doyen, which showed brain surgery and operations of giant tumours. Reportedly these films were the primal shock to the film career of Georges Franju, and it is still possible to understand why. This program was like a shot of grappa in the middle of the all-week heavy gourmet menu.
A large cycle titled "Dark Treasures" was devoted to colonial films in many countries: Italy, the Netherlands, Germany, France, the British Empire, Portugal, and Belgium. This was clearly a starting-point to something big, towards major revisions in the film histories of many countries. As Nico de Clerk writes in his introduction, these films are often omitted from all national film histories, both from the film histories of the former colonial powers and the film histories of the former colonies. All in all, the films were based on thoroughly internalized official propaganda. The films are more documents of the colonial attitudes of their makers than authentic views of the life of the people in the colonies. No heart of darkness was revealed here, not even in La Traversée du Congo Belge. Many of the films are beautiful to watch and they have been restored with love.
I missed completely the sound films of Cooper & Schoedsack, Humphrey Jennings, the Weimar German Musicals cycle, and the Cinema² Directors' Cuts themes.
Among the Piazza Maggiore highlights was the new BFI restoration of E.A. Dupont's Piccadilly with a specially written jazz score by Neil Brand.
A new feature in the Festival was the DVD Prize, and some films seen in the Festival were also already available in handsome DVD editions, for example the Danish Psilander collection and Piccadilly from the BFI. Contemplating the DVD Prize archivists thought that there should also be prizes for the unsung work of film preservationists.
The festival publications – the Catalogue, the Cinegrafie volume, the huge book on Modern Times, and Francis Lacassin's Jean Durand book – are an impressive contribution to cinema studies.
Bold = a film I saw in Bologna. Some feature films evaluated **** to BOMB, some good shorts evaluated *
HENRI FESCOURT, MASTER OF THE SERIAL
Mandrin 1–8 (not released in Finland, FR 1923). PC: Société des Cinéromans. P: Louis Nalpas. D: Henri Fescourt. SC: Arthur Bernède. Starring Romuald Joubé (Mandrin), Johanna Sutter (Tiennot), Jacqueline Malicet (Nicole), Jean Peyrière (Louis XV), Bardés (Voltaire). Σ 8278 m /18 fps/ 397' ***
Mandrin 1: Le Révolté (FR 1923) 81’. ♪Alain Baents. Bologna, Lumière 1, 4 July 2004.
Mandrin 2: L’Exempt pistolet. ♪Remo Anzovino. Bologna, Lumière 1, 5 July 2004.
Mandrin 3: L’étrange escamoteur (FR 1923) 2+3 Σ 80’. ♪Remo Anzovino. Bologna, Lumière 1, 5 July 2004.
Mandrin 4: Les Noces de Mandrin (FR 1923) 46’. ♪Donald Sosin. Bologna, Lumière 1, 6 July 2004.
Mandrin 5: Le Château de M. Voltaire (FR 1923) 47’. ♪Neil Brand. Bologna, Lumière 1, 7 July 2004. "Toi, en femme."
Mandrin 6: La Grâce du Roy (FR 1923) 50’. ♪Gabriel Thibaudeau. Bologna, Lumière 1, 8 July 2004.
Mandrin 7: La Trahison (FR 1923) 45’. ♪Antonio Coppola. Bologna, Lumière 1, 9 July 2004.
Mandrin 8: Justice (FR 1923) 55’. ♪Donald Sosin. Bologna, Lumière 1, 10 July 2004. "Après moi, le déluge".
Les Misérables 1 (Kurjat, FR 1925). ♪Gabriel Thibaudeau
Les Misérables 2 (Kurjat, FR 1925) 81’. ♪Antonio Coppola
Les Misérables 3 (Kurjat, FR 1925) 81’.
Les Misérables 4 (Kurjat, FR 1925) 70’. ♪Neil Brand
La Maison du Maltais (not released in Finland, FR 1927). 85’. ♪Remo Anzovino. Bologna, Lumière 1, 3 July 2004. ***
Monte-Cristo (Monte-Criston kreivi, FR 1928). 37’. Copia 35mm della versione Pathé Baby. ♪Donald Sosin
FORMAT AS AUTEUR
Cinquant’ anni di storia dello schermo panoramico e della stereofonia. Conferenza di Jean-Pierre Verscheure (Centre d’études et de recherches Cinévolution di Mons, Belgio): Proiezione di estratti di documenti d’epoca nei vari formati d’origine. – Bologna, Arlecchino, 6 July 2004. Shorts, excerpts, trailers:
This Is Cinerama (1952). P: Merian C. Cooper. CinemaScope reduction from Cinerama, Eastmancolor, optical sound mono
The Wonderful World of the Brothers Grimm (MGM / Cinerama 1962) CinemaScope reduction from Cinerama
How The West Was Won (MGM 1962), Henry Hathaway sequence. CinemaScope reduction from Cinerama, Eastmancolor, optical sound mono
The Robe (20th Century-Fox 1953), the beginning of the film. Anamorphic Henri Chrétien (2,55:1), Eastmancolor, 4 magnetic tracks
The Egyptian trailer (20th Century-Fox 1954). Anamorphic Bausch & Lomb second generation (2,35:1), Technicolor, 4 magnetic tracks
Perspecta Sound Demonstration Film (MGM 1955). Guys and Dolls, The Last Hunt, Forbidden Planet, Kismet. Anamorphic Bausch & Lomb (2,35:1), Technicolor, Perspecta Sound
The Sheepman (MGM 1958), anamorphic (2,35:1), Technicolor, Perspecta Sound
The Flaming Feather
The Ten Commandments (Paramount 1956), Standard Wide Screen reduction from VistaVision (1,96:1), Technicolor, Perspecta Sound
The Delicate Delinquent (Paramount 1957), Standard Wide Screen reduction from VistaVision (1,85:1), b&w, optical sound mono
The Battle of the River Plate (Rank 1957), Standard Wide Screen reduction from VistaVision (1,85:1), Technicolor, optical sound mono
Oklahoma! (Magna 1955), anamorphic Bausch & Lomb (2,55:1), Technicolor, 4 magnetic tracks – compared with true Todd-AO *
Spartacus (Universal 1960) CinemaScope reduction from Technirama (2,35:1), Technicolor, optical sound mono
Star Wars (George Lucas / 20th Century Fox 1977), CinemaScope reduction from Panavision and VistaVision (2,35:1), Eastmancolor, 4 magnetic tracks
Little Buddha (RPC / Ciby 2000 1993), CinemaScope reduction from Technovision, VistaVision and 65mm (2,35:1), Eastmancolor, Dolby SR
Hamlet (Castle Rock 1996), CinemaScope reduction from 65mm (2,35:1), Eastmancolor, Dolby SR
FORMAT AS AUTEUR: 70MM
2001: A Space Odyssey (2001: avaruusseikkailu, GB/US 1968) D: Stanley Kubrick. 70mm. Cinémathèque Suisse.
Playtime / Play Time (Playtime, FR/IT 1967) D: Jacques Tati. 70mm. 126’. Restaurata da Gulliver Team nel maggio 2002. Films de mon oncle. Bologna, Piazza Maggiore, 10 July 2004. Announced as 155', but there never was a version that long (the premiere had an intermission and exit music, which may be the basis for the misleading info about the duration in many general sources). This version is the definitive one. ****
FORMAT AS AUTEUR: VISTAVISION
The Man Who Knew Too Much (Mies, joka tiesi liikaa, US 1956) D: Alfred Hitchcock. Sott. francesi. Copia Technicolor presentata utilizzando il Perspecta Sound stereofonico originale. Introduce Jean-Pierre Verscheure
The Ten Commandments (Kymmenen käskyä, US 1956) D: Cecil B. DeMille. Copia Technicolor. Photoplay Productions
Gunfight at the OK Corral (Kuolemanloukku OK Corral, US 1957) D: John Sturges. Sott. francesi. Copia Technicolor
Wild Is the Wind (Tuuli on raju, US 1957) D: George Cukor. Starring Anna Magnani, Anthony Quinn, Anthony Franciosa. 114’. Sott. francesi e tedeschi. Cinémathèque Suisse. Bologna, Arlecchino, 7 July 2004. Insensitive US sheep tycoon brings from Italy a new wife, who is hard to tame and refuses to be a substitute to the dead original. She is more the wild mustang than the tame sheep kind of woman. The documentary aspect, rare in Cukor, is the best asset of the film. ***
Vertigo (Vertigo – punainen kyynel, US 1958) D: Alfred Hitchcock. Sott. francesi. Cinémathèque Suisse
Rock-A-Bye Baby (Jerry sai kolmoset, US 1958) D: Frank Tashlin. Sott. francesi e tedeschi Cinémathèque Suisse
Artists and Models (Vaarattomia vakoilijoita, US 1955) D: Frank Tashlin. 109’. Sott. francesi e tedeschi. Cinémathèque Suisse.
One-Eyed Jacks (Vihan riivaama, US 1961) D: Marlon Brando. Cinemateket / Svenska Filminstitutet
Funny Face (Rakastunut Pariisissa, US 1957) D: Stanley Donen. Paramount Pictures
FORMAT AS AUTEUR: CINEMASCOPE
The River's Edge (not released in Finland, US 1957) D: Allan Dwan. 20th Century Fox
40 Guns (40 urhoa, US 1957) D: Samuel Fuller. 20th Century Fox
The Cobweb (Pyörteitä, US 1955) D: Vincente Minnelli. NFTVA.
My Sister Eileen (Sisareni Eileen, US 1955) D: Richard Quine. As the original Eastman colour negative was faded, the lab used a fade process to restore the colour as best as possible. The audio was restored from the original 4-tack LCRS stereo magnetic tracks. Picture restoration by laboratory Cineric, Inc. (New York). Audio restoration by Chace Productions (Burbank). Sony Columbia
Silk Stockings (Silkkisukat, US 1957) D: Rouben Mamoulian. Cinémathèque Royale de Belgique
Hot Blood (Mustalaiskuningatar, US 1956) D: Nicholas Ray. As the original Eastman colour negative was badly faded, a recent version of the RCI process (Restored Colour Image) originally developed by Peter Kuran was used. picture laboratory Cinetech; audio restoration by Chace Productions. Sony Columbia
Will Success Spoil Rock Hunter? (Houkuttelevat huulet, US 1957) D: Frank Tashlin.
A Time To Love and a Time To Die (Rakasta tänään, huomenna..., US 1958) D: Douglas Sirk. Cinémathèque Royale de Belgique
The Man from Laramie (Muukalainen Laramiesta, US 1955) D: Anthony Mann. Versione restaurata da Sony Columbia. Sony Columbia
HOMAGE TO VALDEMAR PSILANDER
Ved fængslets port / Temptations of a Great City. (DK 1911). D: August Blom. 741 m /16 fps/ 41’. Did. danesi e inglesi. Print restored in 2004 using digital 2K intermediate deriving from 35mm fine grain made in 1966 from the original negative. Det Danske Filminstitut. Bologna, Lumière 1, 3 July 2004. The morally weak son of a rich widow gets into trouble because of his debts to a moneylender whose daughter becomes his fiancée. The drama reaches its peak in the famous mirror scene where the desperate son sneaks into his mother's living room at night to steal her money. Psilander's debut at Nordisk was one of the company's best ever selling movies. (From the programme note by Lisbeth Richter Larsen). Fine print.
Dødsspring til hest fra cirkuskuplen / The Great Circus Catastrophe (DK 1912) D: E. Schnedler-Sørensen. 805 m /16 fps/ 43’. Restored in 1991 from an original nitrate print. Det Danske Filmmuseum. Introduce Dan Nissen (Danske Filmmuseum). ♪Neil Brand. Bologna, Lumière 1, 3 July 2004. Economic disaster forces Count von Rosenörn to leave his estate and move to a simple hotel where he becomes acquainted with a group of circus artists. To impress the circus' leading lady and femme fatale he prepares a spectacular and daring act, which involves jumping from the circus big top onto the back of a horse. Before the performance takes place a fire breaks out in the hotel, and the count escapes with the woman who truly loves him. The film is spectacular although the lethal jump is overrated. Psilander's double Axel Mattson was seriously injured. (From the programme note by Lisbeth Richter Larsen).
Den sorte drøm / The Black Dream (DK 1911). D: Urban Gad. Starring Asta Nielsen, Valdemar Psilander. 1025 m /16 fps/ 58’. Deutsche Fassung. Printe made in 1999 from duplicate negative made in 1953 from an original nitrate print. Det Danske Filminstitut. Bologna, Lumière 1, 4 July 2004. Asta Nielsen's brilliant acting almost makes up for the poor technical quality of the print. (From the programme note by Lisbeth Richter Larsen).
Dødsangstens maske-spil / Fire at Sea. Et drama paa havet (DK 1912) D: E. Schnedler-Sørensen. 654 m /16 fps/ 27’. Cut positive print from the original negative made in 1957. Det Danske Filminstitut. ♪Donald Sosin. Bologna, Lumière 1, 4 July 2004. Two endings screened: the regular happy end, and the unhappy Russian ending. Might this drama about a shipwreck be one of those inspired by Titanic? The musicians are calming down the passengers as the ship is burning. Strong scenes.
Mormonens offer / A Victim of the Mormons (DK 1911) D: August Blom. 900 m /16 fps/ 49’. Cut positive print from the original negative made in 1958. Det Danske Filminstitut.
Den stærkeste (DK 1912) D: E. Schnedler-Sørensen. 687 m /16 fps/ 38’. Det Danske Filminstitut. ♪Alain Baents. Romantic comedy from Nordisk's assembly line.
Liebelei (DK 1914). PC: Nordisk. D: Holger-Madsen & August Blom. Based on the play by Arthur Schnitzler. Starring Valdemar Psilander, Christel Holch. 267 m /16 fps/ 15’. Det Danske Filminstitut. No intertitles. Fragment from the original 1165 m.
Evangeliemandens liv / The Candle and the Moth (DK 1915). PC: Nordisk. D: Holger-Madsen. Starring Valdemar Psilander. 1100 m /16 fps/ 60’. Det Danske Filminstitut. Restored 2004 in 2K. Danish and English intertitles. ♪Donald Sosin. Three endings: Danish, Swedish, and Russian.
Manden uden fremtid / The Man without a Future (DK 1916). PC: Nordisk. D: Holger-Madsen. Starring Clara Wieth, Valdemar Psilander. 1002 m /16 fps/ 56’. Det Danske Filminstitut. Cut positive print from the original negative made in 1957. A millionaire's daughter meets cowboy.
Gæstespillet / One Life One Love (DK 1913) D: E. Schnedler-Sørensen. Starring Valdermar Psilander, Else Frölich. 255 m /16 fps/ 14’. Cineteca di Bologna / Det Danske Filminstitut. Tinted. Restored 2003. Did. italiane. ♪Gabriel Thibaudeau. Tragedy of the young engineer who falls in love with an actress who turns out to be a femme fatale.
En fare for samfundet / Love the Conqueror (DK 1918). PC: Nordisk. D: Robert Dinesen. Starring Valdemar Psilander. 1238 m /16 fps/ 68’. Det Danske Filminstitut. Cut positive print from a negative made in 1957. ♪Antonio Coppola. A medical professor suffers a nervous breakdown following a traumatic accident and the loss of his beloved wife. Insanity takes hold of him and as he becomes a threat to others he is sent to a rest home. Even his psychiatrist, Prof. Jung (!) does not succeed in curing him, but in the end he is saved by the girl who loves him. Spectacular fire scenes. (From the programme notes of Lisbeth Richter Larssen).
Klovnen (DK 1917). PC: Nordisk. D: A.W. Sandberg. Starring Valdemar Psilander. 1325 m /16 fps/ 73’.♪Antonio Coppola. Cut positive print from the negative made in 1975. Bologna, Lumière 1, 10 July 2004. The story of the happy Auguste who turns into a broken-hearted man was remade in 1925 with Gösta Ekman. Psilander's final success can be compared with Mosjoukine's Kean as an artist's tragic testament. ***
JEAN DURAND, PIONEER AND MASTER OF ABSURD COMEDY
La Prairie en feu – scène de la vie de l'Ouest Américain / The Prairie on Fire (FR 1912). D: Jean Durand. Starring Joé Hamman, Berthe Dagmar, Gaston Modot. 330 m /18 fps/ 16’. Restored in 2004 by Cinémathèque française / Cinémathèque Gaumont. Bologna, Lumière 1, 4 July 2004. Cowboys fight the Sioux.
Calino prend le train du plaisir (FR 1913). D: Jean Durand. 150 m /18 fps/ 8’. Restored in 2004 by Cinémathèque française / Cinémathèque Gaumont. Bologna, Lumière 1, 4 July 2004. The final film of the Calino series: the story of a disastrous train journey. *
Onésime et l'éléphant détective (FR 1912) D: Jean Durand. 301 m /18 fps/ 15’. Tinted. Restored in 2004 by Cinémathèque française / Gaumont. Bologna, Lumière 1, 4 July 2004. *
Onésime et le dromadaire (FR 1914) D: Jean Durand. 240 m /18 fps/ 12’. Restored in 2004 by Cinémathèque française / Cinémathèque Gaumont. Bologna, Lumière 1, 4 July 2004. *
Introduce Francis Lacassin in occasione della pubblicazione del suo libro Alla ricerca di Jean Durand (Cineteca di Bologna e Le Mani, 2004). ♪Remo Anzovino
DARK TREASURES FROM FORMER COLONIAL CAPITALS
Dark Treasures from The Netherlands
Aankomst van De 'Uiver' Tijililitan / Arrival of The Stork in Tijilitan (NL 1934). 217 m / 8'. Nederlands Filmmuseum. Bologna, Lumière 1, 4 July 2004.
Bezoek van Charlie Chaplin aan Nederlands-Indië / Charlie Chaplin Visits the Dutch East Indies (NL 1932). 128 m /24 fps/ 5'. Bologna, Lumière 1, 4 July 2004.
Soerabaja, het straatverkeer op de pasar besar, 15 juli 1929 / Surabaya, traffic on a market square (NL 1929). 144 m /18 fps/ 7'. Bologna, Lumière 1, 4 July 2004.
Moeriah tras (NL 1927). 458 m /18 fps/ 22'. Nederlands Filmmuseum. Bologna, Lumière 1, 4 July 2004.
Mooi Bandoeng / Beautiful Bandung (NL 1927). 385 m /18 fps/ 19'. Nederlands Filmmuseum. Bologna, Lumière 1, 4 July 2004. Σ 62’
Introduce Nico De Klerk (NFM), coordinatore della sezione. ♪Neil Brand.
Dark Treasures from Germany
Eine Weisse unter Kannibalen (not released in Finland, DE 1921) D: Hans Schomburgk. 1497 m /18 fps/ 74’. Restored in 2000. Bundesarchiv-Filmarchiv. Introduce Wolfgang Fuhrmann (storico del cinema). ♪Donald Sosin
Dark Treasures from Italy
Kif Tebbi / Kif Tebby / Kiff Tebby (Sheikin poika, IT 1928). D: Mario Camerini. 2882 m /22 fps/ 115’. Restored at L'Immagine Ritrovata as a collaboration between Il Cineteca Bologna and Nederlands Filmmuseum. Introduce Davide Pozzi (Cineteca di Bologna). ♪Alain Baents. Noticed at the time as "the film that marks the resurrection of the Italian silent film" and later as "the first significant example of fascist 'colonial' cinema" (Paolo Cherchi Usai) and in fact also in its day also mentioned as an example on the subject of the "imminent birth of a cinema capable of supporting colonial literature" (Gian Piero Brunetta). (From the programme note of Chelu Deiana).
Dark Treasures from France
Tlemcen (FR 1925) /24 fps/ 14’. 16mm. Collection Cinémathèque Robert-Lynen de la Ville de Paris
Biskra et el Kantara (FR 1922) D: René Moreau. /20 fps/ 4’. AFF / CNC (Bois d'Arcy)
Fez (FR 1922) D: René Moreau. /20 fps/ 4’. AFF / CNC (Bois d'Arcy)
L'Ame Hindoue: extraits de la symphonie exotique (FR 1933) D: Alfred Chaumel. 25’. AFF / CNC (Bois d'Arcy)
Continent noir (FR 1933) D: Alfred Chaumel. 19’. 16mm. Collection Cinémathèque Robert-Lynen de la Ville de Paris
Extrême Orient (FR 1933) D: Alfred Chaumel. 10’. 16mm. Collection Cinémathèque Robert-Lynen de la Ville de Paris
La Maladie du sommeil – les ravages de la mouche tsé-tsé (FR 1933) 10’. AFF / CNC (Bois d'Arcy). ♪Alain Baents.
Dark Treasures from Portugal
Acção colonizadora dos portugueses / Portuguese Actions in the Colonies (PG 1932) D: António Antunes da Mata. 392 m /18 fps/ 14’. Restored in 1993 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The images shot in 1929 were probably included in the documentary feature Angola (1931, lost). The film illustrates the benefits of scientific colonization and shared development by showing the health and sanitary conditions available to both the Portuguese settlers and the indigenous population. (From the programme note of Joana Pimentel).
Costumes primitivos dos indigenas de Moçambique / Primitive Customs among the Natives of Mozambique (PG 1929) D: Brigada Cinematográfica portuguesa. 264 m /20 fps/ 12’. Restored in 1985 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The earliest ethnographic film in the colonial collection of Cinemateca Portuguesa. The author won a Gold Medal in the International Colonial Fair in Paris 1931. It shows the everyday life, work and festivities in severial regions of Mozambique. (From the programme note of Joana Pimentel).
Guiné – aldeia indígena em Lisboa / Guinea – A Native Village in Lisbon (PG 1932) Pro-Agência-Geral das Colónias. 222 m /16 fps/ 8’. Restored in 1984 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. The idea of resettling an African village inside an Industrial Fair came in the wake of the success of the colonial fairs of the late twenties. For the commissioners of the event, nothing could be more exotic than the people of Guinea. This small Portuguese colony in Africa was not very familiar on account of its long-term resistance to colonial rule, but it was interesting because of the extraordinary number of ethnic groups present in such a small area. (From the programme note of Joana Pimentel).
1ª companhia de infanteria indígena de Angola em Lisboa / Angola's First Native Infantry Company in Lisbon (PG 1933). ProAgência Geral das Colónias. 246 m /18 fps/ 12’. Restored in 1999 by ANIM / Cinemateca Portuguesa - Museo do Cinema. Bologna, Lumière 1, 8 July 2004. Two years before this event, the First Angolan Native Infantry Company had acted as the guard of honour at the Portuguese pavilion in the Paris International Colonial Fair. Their exotic and martial appearance delighted the Portuguese press to such an extent that they became a major attraction. (From the programme note of Joana Pimentel).
Gentes que nós civilizámos / People We Have Brought Civilization To (PG 1944) D: António Lopes Ribeiro. 18’. Restored in 1992 by Cinemateca Portuguesa. By the time this film was released the Portuguesa government was about to create an official agency to substitute the Portuguese Geographical Society. These activities consisted also of surveys of natural resources in the colonies. This film shows how official policy took over and redefined the colonial issue and the major role played by the Church in the social work carried out amongst the natives. (From the programme note of Joana Pimentel).
Guiné, berço do império 1446-1946 / Guinea – The Birth of the Empire 1446–1946 (PG 1946) D: António Lopes Ribeiro. 18’. Restored in 1992 by Cinemateca Portuguesa. This documentary coincided with the first state visit of a Portuguesa president to West Portuguese Africa. After the war, the films were reused as internal colonial propaganda. This one, probably a condensed version of Guiné Portuguesa (1941), had its title changed to suit the commemoration of the 500th anniversary of Portuguese settlement in Guinea-Bissau. (From the programme note of Joana Pimentel).
Intro João Bénard da Costa (Cin. Portuguesa) ♪Coppola
Dark Treasures from the British Empire
Panorama of Calcutta (GB 1898). Warwick Trading Co. 23 m /16 fps/ 1’. NFTVA
Moonlight Trip on the Nile (GB 1909). Hepworth Manufacturing Co. 56 m /18 fps/ 3’. NFTVA
Our King Emperor and Queen Empress Hold a Durbar in Delhi (GB 1911) Barker Motion Photography. 197 m /18 fps/ 10’. NFTVA
Black Cotton. The Empire Series, British Instructional Films (GB 1927) 253 m /20 fps/ 11’. NFTVA
Windmill in Barbados (GB 1933). Empire Marketing Board. D: Basil Wright. 264 m / 9’. NFTVA
Road in India (GB 1938) D: Hans M. Nieter. 271 m / 9’. NFTVA
My Song Goes Forth (GB 1937) D: Joseph Best. Commentary read by: Paul Robeson. 1382 m / 50’. NFTVA
Introduce Bryony Dixon (NFTVA). ♪Neil Brand.
Dark Treasures from Belgium
Avec les hommes de l'eau (BG 1938). D: Ernest Genval. 9’. Cinémathèque Royale de Belgique. Bologna, Lumière 1, 10 July 2004. Fishing, finding 104 crocodile eggs, hunting the hippopotamus.
Le Chemin de fer du Mayumbe (BG 1928) D: Ernest Genval. 4’. Cinémathèque Royale de Belgique. Bologna, Lumière 1, 10 July 2004.
Foncionnement d'une bourse du travail – "la B.T.K." (BG 1926) D: Ernest Genval. 3’. Cinémathèque Royale de Belgique. Bologna, Lumière 1, 10 July 2004.
In Negerdorfe am Congo (Centralafrica) (BG) 3’. Did. tedesche. Cinémathèque Royale de Belgique. Bologna, Lumière 1, 10 July 2004. Gathering palm wine, the circle dance of the black soldiers.
La Traversée du Congo Belge. Film en 5 parties. (BG 1928). D: Pastori. 49’. Cinémathèque Royale de Belgique. Bologna, Lumière 1, 10 July 2004. Tinted. A sunny companion to The Heart of Darkness.
Introduce Gabrielle Claes (Cinémathèque Royale de Belgique). ♪Alain Baents
DOSSIER CECIL B. DEMILLE
Kevin Brownlow e Patrick Stanbury (Photoplay Productions) presentano una serie di documenti rari nei quali appare DeMille al lavoro. ♪Alain Baents. Bologna, Lumière 1, 4 July 2004.
Hollywood Extra Girl (US 1935). D: Cecil B. DeMille. Featuring CBDM throwing a tantrum about the girl with the 1935 hairstyle (Ann Sheridan) and attacking his assistant director (David MacDonald). Brilliant 35mm
Accident Reel. A selection of mishaps from his early films assembled by Cecil B. DeMille for private screenings. Perhaps the earliest set of bloopers in existence. Featuring Fanny Ward, Gloria Swanson et al in: Carmen, The Golden Chance, The Woman God Forgot, Joan the Woman, Male and Female, The Grim Game, and Feet of Clay.
Filming Male and Female (US 1919). A sequence from the series Stars as They Are showing CBDM directing Gloria Swanson and Thomas Meighan.
Mercury Aviation. CBDM founded one of the first passenger airlines in the US. We see him in the air over LA. Includes a stunt by Irvin Willat for his Houdini drama The Grim Game (1919).
1920s Production Footage. DeMille regularly filmed his units at work. This sequence includes the shooting of scenes on a trestle bridge for Saturday Night (1922, with Agnes Ayres) and Library of Congressation footage at Catalina for Feet of Clay (1924). Why Change Your Wife. Bebe Daniels in Fools' Paradise.
The Road to Yesterday trailer (US 1925). With Jeanie Macpherson and Beulah Marie Dix.
Opening the Studio (US 1925). DeMille left Paramount to open his own studio in Culver City.
The Volga Boatman (US 1926).
Lina Basquette
King of Kings (US 1927)
This Day and Age trailer (US 1933)
Gretchen Comes Across, The Buccaneer trailer (US 1938)
Test – on Zukor
The North West Mounted Police promotional short (US 1940)
Unconquered promotional short (US 1947)
The Story of Dr. Wassell promotional short (US 1944)
The Greatest Show on Earth (US 1952)
DeMille receives an Oscar for The Greatest Show on Earth (US 1953)
Land of the Nile (US 1956). A documentary about Egypt.
Story of a Great Adventure (US 1956). The Ten Commandments.
DeMille 77. Birthday
Right to [think?] propaganda short
DeMille's last interview about Baden-Powell, one month before death
DOSSIER CARL TH. DREYER
Dr. Cook, Nordpolens opdager (DK 1909) 6’. Bologna, Lumière 1, 5 July 2004.
Pavillonens hemmelighed (DK 1916) D: Karl Mantzius. SC: Carl Th. Dreyer. 44’. Bologna, Lumière 1, 5 July 2004.
Blade af Satans Bog (Lehtiä paholaisen kirjasta, DK 1920) D: Carl Th. Dreyer. 10’. Confronto di 4 diverse versioni. Bologna, Lumière 1, 5 July 2004.
La Passion de Jeanne d'Arc (Jeanne d'Arcin kärsimys, FR 1928) D: Carl Th. Dreyer. 15’. Did. danesi. Confronto di diverse varianti. Bologna, Lumière 1, 5 July 2004.
Vampyr (FR/DE 1932) D: Carl Th. Dreyer. 7’. Did. danese e tedesca. Confronto di 3 diverse versioni. Bologna, Lumière 1, 5 July 2004.
Vredens dag (Vihan päivä, DK 1943) D: Carl Th. Dreyer. 6’. Did. danesi e inglesi. Confronto di 3 diverse versioni. Bologna, Lumière 1, 5 July 2004.
Vandet paa landet (DK 1946) D: Carl Th. Dreyer. 30’. ♪Neil Brand. Bologna, Lumière 1, 5 July 2004.
Thomas Christensen (Danske Film Institute) e Casper Tybjerg (University of Copenhagen) presentano una serie di documenti rari.
DOSSIER INGMAR BERGMAN
Bakomfilm Det sjunde inseglet (SE 1957) 14’. Bologna, Lumière 1, 10 July 2004.
Såsom i en spegel Trailer (SE 1961) 5’. Bologna, Lumière 1, 10 July 2004.
Vargtimmen Prolog (SE 1967) 9’. Bologna, Lumière 1, 10 July 2004.
Excerpt of Vargtimmen Reel 1 (SE 1967) 2’. Bologna, Lumière 1, 10 July 2004.
Vargtimmen Epilog (SE 1967) 2’. Bologna, Lumière 1, 10 July 2004.
Bakomfilm Nära livet (SE 1958) 20’. Bologna, Lumière 1, 10 July 2004.
Introduce Jon Wengström (Cinemateket / Svenska Filminstitutet)
[Cancelled: Dossier Alfred Hitchcock. Bill Krohn (storico del cinema e autore del volume Hitchcock at Work) presenta alcuni estratti video muti delle scene escluse, dalla versione definitiva di The Paradine Case – Bill Krohn did not arrive]
DOSSIER JEAN RENOIR
Accent: An Artist's Montmartre (US 1961) 30’. Bologna, Lumière 2, 9 July 2004.
Accent: Jeu de Paume (US 1961) 30’. Bologna, Lumière 2, 9 July 2004.
Monitor: Father and Son (Renoir on Renoir) (GB 1962) 21’. Bologna, Lumière 2, 9 July 2004.
Salut à la France (US 1944) D: Jean Renoir. 22’. V. francese. Bologna, Lumière 2, 9 July 2004.
Introduce Janet Bergstrom (storica del cinema)
A HUNDRED YEARS AGO: MOVIES IN 1904
Cento anni fà: i film del 1904 1: Il Cinematografo (tra l’altro) a Bologna (e altrove) / The Cinematographe in Bologna (and elsewhere) in 1904. Mariann Lewinsky-Farinelli presenta. ♪Neil Brand. Bologna, Lumière 1, 6 July 2004.
Parte I: Bologna e lo spettacolo cinematografico nel 1904. Proiezione e commento di immagini fissi / Bologna and the Cinematographe in 1904. A series of historical photographs with commentary.
Parte II
[Carnevale a Milano] [1904?] [Cinematograph Leilich]. Cinémathèque Suisse, Cineteca di Bologna. Pochoir colour. 70 m
M. le Président et le Roi Victor-Emmanuel III au Forum Romain. (IT, Rome, 27 April 1904). Passage de Victor-Emmanuel III et Emile Loubet suivis du cortège officiel sous l'Arc de Titus. Lumière 1391. Association Lumière. 20 m. – The last Lumière film.
Incendie du Théâtre de Chicago. (FR 1904). Pathé Frères. D: Lucien Nonguet. 46 m /18 fps/ 2'14". Tinted, toned. AFF / CNC (Bois d'Arcy)
X-Ray (GB 1897). D: MacIntyre. 69 ft. NFTVA / BFI.
The Electric Shock (GB 1904). Gaumont. D: Alf Collins. 115 ft. NFTVA / BFI.
Fregoli i giochi prestigio (IT ca 1898). 20 m. Multi-coloured. Cineteca Nazionale – Scuola Nazionale di Cinema.
Parte III: Serata nera / Scènes grivoises
Le Reveil de Chrysis (FR 1899). Pathé Frères. 20 m. Bousquet 770/801. Full nudity in Oriental atmosphere.
Le Jugement de Phryne (FR 1899). Pathé Frères. 20 m. Bousquet 772/801. Full nudity in an atmosphere of classical antiquity.
Une idylle sous un tunnel (FR 1901). Pathé Frères. D: Ferdinand Zecca. Featuring Ferdinand Zecca (monsieur), Jean Liezer (la nourrice). Bousquet 619. 20 m. The wet nurse plays a trick on the amorous monsieur in a train tunnel.
Le Bain des dames de la cour (FR 1904). Pathé Frères. 25 m. Bousquet 1104. Transparent dresses and bared bosoms of bathing ladies of the court.
Amour à tous les étages (FR 1904). Pathé Frères. 20 m. Bousquet 850. A Peeping Tom's view through keyholes in several floors, amorous scenes in silhouette. *
La Puce (FR 1904). Pathé Frères. Featuring Louise Willy. 20 m. Bousquet 1061. The lady and the flea.
Dix hommes pour un femme (FR ca 1905). Pathé Frères. 127 m /16 fps/ 6'. Cinémathèque Suisse & Cineteca di Bologna. During her city walk the lady attracts ten men to follow her, only to play a trick on them.
Bonsoir. 8 m. Lobster Films. Saying it with flowers.
Cento anni fà: i film del 1904 2: Palcoscenico e Panorama / Stage and Panorama. Mariann Lewinsky-Farinelli presenta. ♪Donald Sosin. Bologna, Lumière 1, 7 July 2004.
Parte I: Palcoscenico / Stage
Les grandes eaux de Versailles (FR 1904. Pathé Frères. 38 m. NFM. Pochoir colour.
Princess Raja Dance (US 23.5.1904). 22 m. Library of Congress, fine results from paper print.
Consommateurs insolvables. (FR 1904). Pathé Frères. 40 m. NFM.
Japonaiserie / Japonaiseries. (FR 1904). Pathé Frères. D: Gaston Velle. 54 m. NFTVA / BFI. Pochoir colour.
"Danses serpentines" (FR 190?) 47 m, Cineteca di Bologna, multi-colour – incorporating Annabella's serpentine dance in Edison's Black Maria around 1895.
Métamorphose de papillon / Métamorphoses de papillon. (FR 1904). Pathé Frères. D: Gaston Velle. 29 m. Lobster Films. Two-colour. A lady-butterfly.
Entr'acte. 5 m. Lobster Films. Clowns jumping out of a cauldron form the word Entr'acte.
Parte II: Panorama
Chûtes du Rhin à Schaffouse / Rheinfall. (FR 1904?). Pathé Frères. 31 m. Cinémathèque Suisse. Pochoir colour.
[Naples, une excursion au Vesuve en eruption] / Napoli e il Vesuvio (FR 1904). Pathé Frères. 52 m. Cineteca Nazionale / Scuola Nazionale di Cinema. A phantom ride. Red tint at the Vesuvio.
[Visite au ruine du Forum et du Colisée] / Roma antica. (FR 1904). Pathé Frères. 96 m. Cineteca di Bologna.
Courses de taureaux. (Two films). Lumière N. 435, 871. 20 m. Cineteca Nazionale / Scuola Nazionale di Cinema.
[Panorama von Luzern] / [Luzern und die Vierwäld... See]. (CH ca 1906). 100 m. Cinémathèque Suisse.
Parte III: Panorama–Panopticum
La Guerre russo-japonaise. Scènes d'actualités reconstitués. Defensa de Puerto-Arturo. (FR 1904). Pathé Frères. D: Lucien Nonguet. 351 m. Lobster Films / Un trésor dans un armoir X.
Cento anni fà: i film del 1904 3: I quattro generi di vedute cinematografiche secondo Georges Méliès / The Four Genres of Cinematographic Views according to Méliès. Mariann Lewinsky-Farinelli presenta. ♪Alain Baents. Bologna, Lumière 1, 8 July 2004.
Parte I: Vues scientifiques / Scientific Views
Treloar and Miss Marshall, Prize Winners at the Physical Culture Show in Madison Square Garden. (US 1904). 46 m. Library of Congress, from paper print.
Seifenblasen. 107 m. NFTVA / BFI. Scientific experiments look like experimental film. *
Parte II: Vues plein air / Open-Air Views
Day in the Hayfields. (GB 1904). D: Cecil Hepworth. 64 m. NFTVA / BFI.
[Flamenco]. (FR 1903). Pathé Frères. 45 m. Filmoteca Española / Cineteca di Bologna. Pochoir colour.
Great International June 17th 1904 Motor Race / Gordon Bennett Motor Race. (GB 1904). D: Charles Urban. 104 m. NFTVA / BFI.
Parte III: Sujets composés et une vue fantastique / Artificially Arranged Compositions and A Fantastic View
La Pèche fantastique. (FR 1904). Pathé Frères. 40 m. Cinémathèque Royale de Belgique 1994.
Ein Drama in den Wolken / Un drame dans les airs. (AT 1904). Pathé Frères. 62 m. Filmarchiv Austria, newly restored, strong colour.
La Vigie de Port-Arthur. (FR 1904). Pathé Frères. D. Lucien Nonguet. 48 m. AFF / CNC (Bois d'Arcy). Reconstruction with models.
Christophe Colomb. (FR 1904). Pathé Frères. D: Vincent Lorant-Heilbronn. 227. AFF / CNC (Bois d'Arcy), newly restored, pochoir colour, beautiful print. *
La Danse du diable. (FR 1904). Pathé Frères. D: Ferdinand Zecca. 80 m. AFF / CNC (Bois d'Arcy). Beautiful multi-colour print, féerie, metamorphoses, the devil and beautiful women, symbolic sensuality. *
Cento anni fà: i film del 1904 4: Lavoro e lirica nell’era elettrica / Work and Opera in the Age of Electricity. Mariann Lewinsky-Farinelli presenta. ♪Gabriel Thibaudeau. Bologna, Lumière 1, 9 July 2004.
Parte I
La Grève. Scène dramatique en 5 tableaux (FR 1904), D: Ferdinand Zecca, PC: Pathé Frères. 112 m /16 fps/ 6'. Cinémathèque française. Bousquet 1096
1. Refus d'arbitrage
2. Meurtrière du patron
3. L'Arrestation de la coupable
4. Aquittée
5. Le Futur
Parte II: Riprese nella Westinghouse Electric & Manufacturing Company (US, 13 April – 16 May 1904). D: G.W. Bitzer. PC: American Mutoscope and Biograph
1. Panoramic View Aisle B (US 1904). 43 m. Library of Congress
2. Welding the Big Ring (US 1904). 107 m. Library of Congress
3. Coil Winding Section E (US 1904). 40 m. Library of Congress
4. Steam Whistle, Westinghouse Works (US 1904). 12 m. Library of Congress
5. Girls Taking Time Checks, Westinghouse Works (US 1904). 46 m, Library of Congress
Parte III: Phono-Scènes, Tonbilder e Film Opera
Yvette Guilbert: Le Vièrges (Pathé)
Fritzi Massary: Auf ins Metropol (Victor Hollaender): Komm du kleines Kohlemädel (Messter)
Am Meer (DE ca 1910?). 60 m. BFI / NFTVA.
Schmuckarie der Margarete aus "Faust" (DE 1904). 37 m. Sound version. SDK
Damnation du Dr. Faust (FR 1904). Star Film / Georges Méliès. 16mm. 152 ft. BFI / NFTVA
Cento anni fà: i film del 1904 5: Grande serata d’addio. Ultima definitiva rappresentazione: Il repertorio internazionale e la cinematografia Library of Congressale / Library of Congressal Films and the Production for the International Market. Mariann Lewinsky-Farinelli presenta. ♪ organ music for fairground tents, ♪ Serge Bromberg, ♪Antonio Coppola. Bologna, Lumière 1, 10 July 2004.
Parte I
"Kinderfest vor der Kaserne in St. Gallen" (Kirchausgang, CH 190?). 60 m. Cinémathèque Suisse. View of life
La hada de los flores / La Fée aux fleurs (FR 1905). PC: Pathé Frères. D: Gaston Velle. 25 m. Archivio nacional Montevideo / Cineteca di Bologna. Pochoir colour
"Transformations amusantes" (Féerie, FR 1908/1909). 70 m. Cineteca di Bologna
Domausgang in Trier (DE 1904). D: Peter Marzen (Trier). 29 m. Bundesarchiv. Scene of life (teeming masses)
Autofahrt durch Trier (DE 1903). D: Peter Marzen (Trier). 29 m. Bundesarchiv. Phantom ride
Die beiden Einbrecher / Dévaliseurs nocturnes (FR 1904). PC: Pathé Frères. D: Gaston Velle. 16mm. 22 m. Filmmuseum Berlin / SDK
Parte II
"Edwardian Folkestone" (GB 1904). 353 ft. BFI / NFTVA
Valz dei teppisti / Danse des apaches (FR). PC: Pathé Frères. 38 m. Cineteca di Bologna *
La Balançoire / Die Schaukelpartie (FR 1904). Pathé Frères. 27 m /16 fps/ 1'29". CNC / AFF
Marie Antoinette (FR 1903). Pathé Frères. 152 m /16 fps/ 9'. Filmoteca Española. Pochoir colour
Parte III
Besuch der Herisauer Stadtmusik in Rapperswil / Jahrmarkt Herisau (CH 1924). P+D: Willy Leuzinger (Rapperswil). 171 m. Cinema Leuzinger / Cinémathèque Suisse / MEMORIAV
"Primitivi vari-fuochi artifiziali" (Feu d'artifice, FR pre-1905). 20 m. Cineteca Nazionale Roma. Pochoir colour. *
PROJECT CHAPLIN
Project Chaplin – The Keystone Series.
The Rounders (Kapakkakierros, US 1914). 308 m /16 fps/ 17’. Restored in 2004 by L'Immagine Ritrovata by Cineteca di Bologna, BFI/NFTVA and Lobster Films. Bologna, Lumière 1, 7 July 2004. Low contrast, no black, bordering on photocopy quality, definition not consistent.
Mabel's Married Life (Mabelin avioelämä, US 1914). 309 m /16 fps/ 17’. Restored in 2004 by L'Immagine Ritrovata by Cineteca di Bologna, BFI/NFTVA and Lobster Films, based on material from Library of Congress. Bologna, Lumière 1, 7 July 2004. Soft, low-contrast print, definition not consistent.
Caught in the Rain (Charlie sateessa, US 1914). 309 m /16 fps/ 17’. Restored in 2004 at L'Immagine Ritrovata by Cineteca di Bologna, BFI/NFTVA and Lobster Films, based on material from Suomen elokuva-arkisto, NFTVA, and Library of Congress. Bologna, Lumière 1, 7 July 2004. Mostly a soft, low-contrast print, definition not brilliant nor consistent.
Getting Acquainted (Kuhertelua puistossa, US 1914). 312 m /16 fps/ 18’. Restored in 2004 at L'Immagine Ritrovata by Cineteca di Bologna, BFI/NFTVA and Lobster films, based on material from Library of Congress, Suomen elokuva-arkisto, Lobster Films and NFTVA. Bologna, Lumière 1, 7 July 2004. Print often soft and low-contrast, definition not consistent.
Intro David Pierce (NFTVA), Eric Lange (Lobster Films) e Gian Luca Farinelli (Cineteca di Bologna) ♪Neil Brand – Jurassic Chaplin where he is justa a shallow guy driven by the basic instinct. I'm puzzled by the quality of the prints, and I think I have seen better ones of some of them. There are many Chaplin Keystone prints, but almost all are cropped for sound re-release.
Outtakes from City Lights. Introducono Cecilia Cenciarelli (Cineteca di Bologna, Progetto Chaplin), Frank Scheide (Arkansas University, catalogatore degli outtakes di Chaplin) e Bryony Dixon (NFTVA). 156'. ♪Donald Sosin. Bologna, Lumière 1, 7 July 2004. A wonderful show of rehearsals and discarded versions from City Lights. Excellent cinematographic quality. *
Presentazione del libro Modern Times curato da Christian Delage, in collaborazione con Cecilia Cenciarelli (Le Mani, 2004) a seguire
Philips Radio (NL 1931) D: Joris Ivens. 35’. Nederlands Filmmuseum
“Lanterna Magica” – animazione per i bambini durante la prova generale dell’orchestra City Lights (US 1931) D: Charlie Chaplin. 89’.
Pay Day (Palkkapäivä, US 1922). 598 m /20 fps/ 26’. Restored in 2004 at L'Immagine Ritrovata from a Roy Export Company positive printed in 1953 from the original nitrate negative.
City Lights (Kaupungin valot, US 1931) D: Charlie Chaplin. 89’. Cineteca di Bologna / Roy Export Company Establishment. Versioni restaurati da Cineteca del Comune di Bologna e Roy Export Company Establishment Prima mondiale della partitura orchestrale restaurata dal Maestro Timothy Brock. Musiche originali di Charles Chaplin.
Alla presenza di Victoria e Christopher Chaplin
THE FRAGILITY OF HAPPINESS: GERMAN MUSICALS FROM THE 1930S
Hallo, Caesar! (not released in Finland, DE 1926) D: Reinhold Schünzel. 121’. ♪Donald Sosin
Ihre Majestät die Liebe (Hänen majesteettinsa rakkaus, DE 1931) D: Joe May. 101’.
Zwei Herzen im drei-viertel Takt (Kaksi sydäntä valssin tahdissa. DE 1930) D: Géza von Bolváry. 95’.
Amphitryon (Jumalat huvittelevat, DE 1935) D: Reinhold Schünzel. 104’. Seguito dalla proiezione in video di un estratto della versione francese Les Dieux s’amusent.
Der Kongress tanzt (Tanssiva kongressi, DE 1931) D: Erik Charell. 98’.
Le Congrès s'amuse (DE 1931) D: Erik Charell e Jean Boyer. Estratto di 15’. V. francese con sott. portoghesi
The Congress Dances (DE 1931) D: Erik Charell. 85’. V. inglese
Ich bei Tag und Du bei Nacht (Minä päivisin ja sinä öisin, DE 1932) D: Ludwig Berger. 96’.
Viktor und Viktoria (Viktor ja Viktoria, DE 1933) D: Reinhold Schünzel. 99’.
Die Drei von der Tankstelle (Rakkautta ja bensiiniä, DE 1930) D: Wilhelm Thiele.
Bomben auf Monte Carlo (Intohimojen Monte Carlo, DE 1931) D: Hanns Schwarz.
CINEMA² DIRECTORS' CUTS
At the Academy (GB 1974) D: Guy Sherwin. 5’
Light Is Calling (US 2003) D: Bill Morrison. 8’
Papillon d'amour (BG 2003) D: Nicolas Provost. 4’
Zentrale – 2. Version (AT 2002) D: Dietmar Brehm. 9’
2 Spellbound (US 1999) D: Les LeVeque. 7’
Prairie Stop, Highway 41 (SE 2004) D: J. Tobias Anderson. 9’
Shot – Countershot (AT 1987) D: Peter Tscherkassky. 22"
Apocryphal Movie (US 2001) D: Brian Frye. 3’
Film/spricht/viele/Sprachen (AT 1995) D: Gustav Deutsch. 1’
Remainiscences (BR 1997) D: Carlos Adriano. 18’
Introducono Pauline de Raymond, Sergio Fant e Paolo Simoni (curatori della sezione) alla presenza del regista Bill Morrison
Ambar (trailer) (EG 1948) 3’
The Mesmerist (US 2003) D: Bill Morrison. 16’
Stadt in Flammen (DE 1984) D: Schmelzdahin. 5’
Runaway (US 1969) D: Standish D. Lawder. 6’
L'Arrivée (AT 1998) D: Peter Tscherkassky. 2’
Dellamorte Dellamorte Dellamore (FR/IT 2000) D: David Matarasso. 2’
Blame (DE 2002) D: David Krippendorff. 59"
One FM (US 2003) D: Paul Grant 8’
A Junky's Christmas (US 2003) D: Bryan Konefsky. 16’
Africa addio (Plagium 11) (IT 1996) D: Cane CapoVolto. 4’
Compressions (Alphaville, A bout de souffle, Niagara) (FR 1995) D: Gerard Courant. 12’
Alla presenza del regista Bill Morrison
Nevinost bez zastite. A New Edition of a Good Old Movie (Voi viattomuutta, YU 1968) D: Dusan Makavejev. 78’. V. serba con sott. inglesi. Al termine, Dusan Makavejev incontra il pubblico
Flicker Flashback – Episode N. 13 (US 1948) P: Richard Fleischer. 10’
4 Vertigo (US 2000) D: Les LeVeque. 9’
Nine Piece Rope (SE 2002) D: J. Tobias Anderson. 2’24"
Cinema Study (US 2003) D: Gregg Biermann. 5’30"
The Doctor's Dream (US 1973) D: Ken Jacobs. 23’
L'Argent von Bresson (DE 1983) D: Harun Farocki, Hartmut Bitomsky, Manfred Blank. 30’. Sott. inglesi
The Making of Der letzte Mann (DE 2004) D: Luciano Berriatúa. 40’. V. tedesca con sott. inglesi
Tartüff, the Lost Film (DE 2004) D: Luciano Berriatúa. 33’. V. tedesca
Introduce Luciano Berriatúa con Camille Blot-Wellens
Blanche Neige Lucie (FR 1997) D: Pierre Huyghe. 4’
Peeping Tom (GB 2000) D: Mark Lewis. 5’
Endless Obsession (US 2000) D: Glen Fogel. 5’
The Beautiful Island (part 1) (US 2002) D: David Krippendorff. 7’
Manual (GB 2002) D: Christoph Girardet, Matthias Müller. 10’
Blackout (GB 1999) D: Michael Maziere. 10’
Weit weit weg (DE 1995) D: Bjørn Melhus. 39’. Sott. inglesi
Exposed (AT 2001) D: Siegfried A. Fruhauf. 9’
Parade (Rom 1960) AT 2001) D: Dietmar Brehm. 8’
Bitte (FR 2001) D: Yves-Marie Mahé. 4’
What Makes Day and Night (US 1998) D: Jeanne Liotta. 9’
On Eye Rape(JP 1962) D: Takahiko Iimura & Natsuyuki Nakanishi. 10’
Rodéo – perforation américaine (FR 2000) D: Mayumi Matsuo & Hervé Pichard. 3’
Crossroads (US 1976) D: Bruce Conner. 36’
Le Projectionniste version n. 3 (FR 1996) D: Olivier Fouchard. 3’
ALIDA VALLI, PORTRAIT OF THE DIVA AS A YOUNG WOMAN
Siamo donne (Meidän naisemme, IT 1953). D: Gianni Franciolini. 19’. Verranno presentate la versione italiana e il diverso finale della versione francese. Introduce Giuseppe Bertolucci (Presidente della Cineteca di Bologna).
Mille lire al mese (not released in Finland, IT 1939) D: Max Neufeld. 81’.
Stasera niente di nuovo (not released in Finland, IT 1942) D: Mario Màttoli. 90’.
Piccolo mondo antico (not released in Finland, IT 1941) D: Mario Soldati. 106’.
Ore 9 lezione di chimica (not released in Finland, IT 1941) D: Mario Màttoli. 90’.
T'amerò sempre (not released in Finland, IT 1943) D: Mario Camerini.
Eugenia Grandet (not released in Finland, IT 1947) D: Mario Soldati. 100’. Bologna, Lumière 2, 10 July 2004.
ITALIA TAGLIA / CUT ITALY
La tivù di Fellini (IT 1986 / 2003). D: Federico Fellini. Selection of fake TV commercials made for Ginger e Fred but not included in the film. Introduce Tatti Sanguineti
HOMAGE TO HUMPHREY JENNINGS
Library of Congressomotives (GB 1935) 8’.
Making Fashion (GB 1938) 7’.
Spare Time (GB 1939) 15’.
The First Days (GB 1939) D: Jennings, Harry Watt e Pat Jackson. 23’.
Introduce Geoff Brown (curatore della sezione)
Welfare of the Workers (GB 1940) 10’
London Can Take It! (GB 1940) & Harry Watt. 10’
The Heart of Britain (GB 1941) 9’
Words for Battle (GB 1941) 8’
Listen to Britain (GB 1942) & Stewart McAllister. 20’.
Fires Were Started (GB 1943) 63’.
The Eighty Days (GB 1944) 14’
A Diary for Timothy (GB 1944-45) 39’
COOPER–SCHOEDSACK & FRIENDS: THE SOUND ERA
The Searchers (Etsijät, US 1956) D: John Ford. 120'. NFTVA
She Wore a Yellow Ribbon (Keltainen nauha, US 1949) D: John Ford. 103'. UCLA restoration
The Most Dangerous Game (Zaroffin koirat, US 1932) D: Ernest B. Schoedsack & Irving Pichel. 63'. MoMA (Criterion and Janus Films Collection)
Creation (US 1932) D: Willis O’Brien, Harry O. Hoyt. 125 m / 5’. Library of Congress (AFI-UCLA Collection)
King Kong (King Kong, US 1933) D: Merian C. Cooper & Ernest B. Schoedsack. 100'. Library of Congress
Mighty Joe Young (Afrikan aave, US 1949) D: Ernest B. Schoedsack. 89. 16mm print from Library of Congress
RECOVERED AND RESTORED
Vaghe stelle dell'Orsa (Tuhon tähdet, IT 1965) D: Luchino Visconti. 95'. Sony Columbia
Letter from an Unknown Woman (Kirje tuntemattomalta naiselta, US 1948) D: Max Ophuls. Restored 2002 by UCLA.
Night and the City (Suurkaupungin laki, US 1950) D: Jules Dassin. Restored print of the American version. 20th Century-Fox.
The Man from Planet X (US 1951) D: Edgar G. Ulmer. Preserved in 2001 from the UA Collection by Library of Congress.
Martin Scorsese presenta Prima della rivoluzione (2004), 11’. V. inglese. DigiBeta. Cineteca di Bologna / Ripley's Film
Videointervista a Bernardo Bertolucci, a cura di Giuseppe Bertolucci con la collaborazione di Tatti Sanguineti 20’.
Prima della rivoluzione (IT 1964) D: Bernardo Bertolucci. 115'. Restored 2004 Cineteca di Bologna / Ripley's Film. Introduce Giuseppe Bertolucci (Cineteca di Bologna)
Dødsjockeyen / Il jockey della morte (IT 1915) D: Alfred Lind. 1180 m /18 fps/ 58’. Did. francesi e olandesi. Cinémathèque Royale de Belgique, restored in 2004. ♪Alain Baents. Bologna, Lumière 1, 3 July 2004. Distributed in Belgium by Les Films Charles Hendrickx in travelling cinemas up to the fifties. The print was in deplorable shape. None of this detracts from the considerable poetic power of the film, which is full of images that border on surrealism. The audacity of the photography and the light effects are striking, too. The action of this Italian film, shot by a Dane, is set in France. (From the program note of Jean-Marie Buchet). – Stylish tint and toning.
Le sorelle Bartels (IT 1910) 5’. Cineteca del Comune di Bologna (within Italian Silent Films Repatriation: Joint project by Cineteca del Comune di Bologna, American Film Institute and Library of Congress). L'Immagine Ritrovata 2004. Bologna, Lumière 1, 3 July 2004. – Stunning acrobatic feats.
Un testamento originale (IT 1907) D: Giovanni Vitrotti. 9’. Did. inglesi. Cineteca del Comune di Bologna (within Italian Silent Films Repatriation: Joint project by Cineteca del Comune di Bologna, American Film Institute and Library of Congress). Immagine Ritrovata 2004. Bologna, Lumière 1, 3 July 2004.
A Million Bid (Kun meri antoi omansa takaisin, US 1927). PC: Warner Bros. D: Michael Curtiz. DP: Hal Mohr. Starring Dolores Costello, Warner Oland, William Demarest. 1925 m /16 fps/ 106’. Did. italiane. Restored 2004 at L'Immagine Ritrovata for Library of Congress from the short Italian version. Introduce Patrick Loughney, Library of Congress. ♪Donald Sosin. Bologna, Lumière 1, 3 July 2004. Michael Curtiz has a sure professional touch in his second American film. Dolores Costello, the silent star now most famous for The Magnificent Ambersons, is the woman forced to marry Warner Oland for money. In a shipwreck Oland is thought to have died, but he returns as a man who has lost his memory. The cinematography is a beautiful example of high late silent cinema: fluid camerawork by Hal Mohr. Charming sepia hue in the restored print. **
Os lobos (PG 1924) D: Rino Lupo. 1700 m /18 fps/ 83'. Restored 2004 Cinemateca Portuguesa. ♪Remo Anzovino
La spada di legno (IT 1910) 13’. L'Immagine Ritrovata / Cineteca di Bologna / Daniel N. Casagrande 2004.
La bella lattaia (IT 1908) 9’. Did. francesi. Cineteca di Bologna / L'Immagine Ritrovata / Daniel N. Casagrande 2004.
Kri Kri rincasa tardi (IT 1913) 6’. L'Immagine Ritrovata / Cineteca di Bologna / Daniel N. Casagrande 2002.
Introducono Daniel N. Casagrande e Davide Pozzi (Cineteca di Bologna) ♪Neil Brand
Oiseaux sur la branche (FR 1913) 11’ Cinémathèque française
Nijni Novgorod (RU 1910) 6’. Cinémathèque française
Be My Wife (US 1919) D: Harold Lloyd. 280 m /18 fps/ 16’. Cinémathèque française
Automobiles Bugatti (FR 1923). 251 m /18 fps/ 13’. Cinémathèque française
Introduce Claudine Kaufmann (Cinémathèque française) ♪Alain Baents
Documenti inediti su due momenti della storia italiana:
Uomini e voci del XVII Congresso Socialista di Livorno – 15 gennaio 1921 (IT 2004) D: Cecilia Mangini. 10’. Beta. Compilation of a previously unreleased film of the 1921 congress where the split between the revolutionaries and reformists led to the formation of the Italian Communist Party. Introduce l’autrice Cecilia Mangini
Il grandioso corteo dei funerali dell'on. Costa (IT 1910) 16’. Introducono Fausto Pullano (Associazione Home Movies) e Michele Canosa (Università di Bologna). L'Immagine Ritrovata. CIDRA (Imola). ♪Donald Sosin
Kœnigsmark (Ruhtinatar Aurora 1–2, FR 1923) D: Léonce Perret. 4053 m /20 fps/ 178’. Restored 2003 Cinémathèque française: tint and pochoir. ♪Neil Brand. Bologna, Lumière 1, 6 July 2004. A beautiful multi-colour print.
Sein eigner Mörder (DE) D: Max Mack, featuring Richard Oswald. 500 m /16 fps/ 28’. Did. flash. Cinémathèque française
Le Feu à la mine (FR 1911) D: Léonce Perret. 279 m /16 fps/ 16’. Cinémathèque française
Lutte pour la vie (FR 1907) D: André Heuzé. 305 m /16 fps/ 17'. Cinémathèque française
Introduce Claudine Kaufmann (Cinémathèque française) ♪Alain Baents
Visita incrociatore italiano a San Francisco (US 1921). D: Frank Capra. 658 m /18 fps/ 32’. Did. italiane. AFI / Cineteca di Bologna. ♪Gabriel Thibaudeau. This film, shot betweeen 6–29 November 1921, does not appear in Capra's official filmographies. It shows the Italian battle cruiser Libia visiting the port of San Francisco. The Italian sailors are welcomed to the Golden Gate by the Italia Virtus Club. Capra himself with his camera is seen on the jetty waiting for the boat to arrive. (From the programme note by Elena Tammaccaro).
Extirpation des tumeurs encapsulées (FR 1906) D: Eugène-Louis Doyen. 349 m /16 fps/ 19’. Restored in 2002 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. *
Les Opérations sur la cavité crânienne (FR 1911) D: Eugène-Louis Doyen. 325 m /16 fps/ 18’. Did. spagnole. Restored in 2002 by Cinemateca Portuguesa. Bologna, Lumière 1, 8 July 2004. *
Eugène-Louis Doyen (1859–1916), one of the most famous surgeons of the turn of the century, was among the first to use the cinema. 1897–1906 he shot sixty of his operations. After his death, nearly all of his collection was lost. Only five films of 60 have been found. In 2002, Cinemateca Portuguesa restored two of the three thematic anthologies Doyen prepared for Eclipse. They seem complete and have original French and Spanish intertitles, in all likelihood written under Doyen's direction. The discovery of these films is a veritable event not only for the history of scientific cinema but also for the history of medicine and the evolution of surgical techniques. Five Portuguese doctors financed the restoration. (From the programme note by Tiego Baptista). – A lucid record of the hard work of the surgeons. Three doctors tear massive tumours from throats and thighs with their bare hands, and perform rapid brain surgery after having worked very hard to open the skull with drills and saws. – The impact of these films is comparable to the splatter line of the horror film, only they are stronger and purer. – These films are reminders about the fragility of life and the extreme responsibility of the surgeon. – Only long takes and plans américains with a fixed camera.
Momenti principali di un'isterectomia addominale – intervento chirurgico del prof L. Sussi (IT) 43 m /20 fps/ 2’. Featuring Luigi Sussi. Bologna, Lumière 1, 8 July 2004. The restoration was carried out for the Associazione Kinoatelje di Gorizia, which made available the original nitrate positive. The work was carried out with the contribution of the Fondazione Cassa di Risparmio di Gorizia at La camera ottica restoration laboratory of the DAMS degree course (Udine University) and L'Immagine Ritrovata (Bologna) 2004. La camera ottica. Luigi Sussi (*1894), a surgeon of the Viennese school who contributed innovations to surgery techniques in the thirties, was one of the most prominent public figures in Gorizia. (From the programme note by Simone Venturini). Short takes and close-ups.
La Trouvaille du Buchu (FR 1917) D: Jacques Feyder. 180 m /17 fps/ 9’. Restored by Gaumont / Cinémathèque française 2004. Bologna, Lumière 1, 9 July 2004. The story of a tramp. Brilliant print.
Le Pied Qui Etreint – parodie cinématographique en quatre parties (FR 1916), PC: Gaumont, D: Jacques Feyder. 1750 m /16 fps/ 95’. Cinémathèque française. ♪Gabriel Thibaudeau. Bologna, Lumière 1, 9 July 2004. The sequence titles tell all: Le Vocaphone sans fil ou La Farandole électrique. 2. Le Rayon noir. 3. La Mort du ressuscité ou La Girouette du temple chinois. 4. L'Homme au foulard vert. A wild parody of serials about the tireless fight of the famous inventor-detective Crepelle against the terrible Foot Squeeze Gang. Perhaps the first mobile phone story in the history of cinema, even including SMS = short text messages! Good print. ***+
Amore sentimentale / Sentimental Love (IT 1911) 12’. Cineteca di Bologna / Cineteca del Friuli / Archive Film Agency. Restored in 2004 by L'Immagine Ritrovata. Did. inglesi. Bologna, Lumière 1, 9 July 2004. Beautiful cinematography and colour effects.
Un dramma giudiziario a Venezia (IT 1907) 168 m /16 fps/ 9’. Tinted. Cineteca di Bologna / Cineteca del Friuli / Archive Film Agency. Restored in 2004 by L'Immagine Ritrovata. Bologna, Lumière 1, 9 July 2004. Beautiful cinematography and colour effects.
Duello allo schrapnell / Shrapnel Duel (IT 1913) D: Ernesto Vaser. 193 m /16 fps/ 11’. Tinted. Cineteca di Bologna / Cineteca del Friuli / Archive Film Agency. Restored in 2004 by L'Immagine Ritrovata. Did. inglesi. Bologna, Lumière 1, 9 July 2004. A wild and funny farce with original duelling weapons. *
[Lago Maggiore e Lago di Como] / Lake Maggiore + Lago Como (IT 1907). 91 m /16 fps/ 5’. Tinted. Cineteca di Bologna / Cineteca del Friuli / Archive Film Agency. Restored in 2004 by L'Immagine Ritrovata. Did. inglesi. Bologna, Lumière 1, 9 July 2004.
Presentano il progetto di restauro Livio Jacob (Cineteca del Friuli), Bob Geoghehan (Archive Film Agency) e Gian Luca Farinelli (Cineteca di Bologna) ♪Antonio Coppola
Ingé (?) (DE? AT? HU? 1918?) D: Otto Rippert (?). 1635 m /18 fps/ 80’. Did. francesi e olandesi. Cinémathèque Royale de Belgique. ♪Alain Baents. Bologna, Lumière 1, 10 July 2004. Film con identificazione ancora incerta. A lavish costume drama set in the 18th century featuring the talented dancing girl "Ingé Narda, une élève de Maestro Boggio", "le Duc de Samland", etc. Produced in Mitteleuropa, to be identified.
Troppo tardi t'ho conosciuta (IT 1939) D: Emmanuele Caracciolo. 82’. Restored 2003 by Associazione Maria Adriana Prolo (Torino). Introduce Francesco Prono (Università di Torino). Directed by Emanuele Caracciolo, the only man of the cinema murdered in the Fosse Ardeatine in 1944.
Ils étaient neufs célibataires (FR 1939) D: Sacha Guitry. 125’. Cinémathèque française and Canal+
On the Waterfront (Alaston satama, US 1954) D: Elia Kazan. Versione restaurata in 1992 and 2004 da MoMA / Sony Columbia
Fräulein Else (not released in Finland, DE 1928). D: Paul Czinner. Based on a short story by Arthur Schnitzler. 2252 m /22 fps/ 90’. Restauro della Cineteca di Bologna e ZDF, in collaborazione con ARTE. Det Danske Filminstitut / Cineteca di Bologna. Partitura scritta e diretta da Marco Dalpane, eseguita dal vivo da Ugo Mantiglia (violino), Elisa Floridia (viola), Enrico Guerzoni (violoncello), Marco Zanardi (clarinetto), Marco Lo Russo (fisarmoni-ca), Claudio Trotta (batteria), Francesca Aste (pianoforte). Orchestrazione: Raniero Gaspari. Produzione ZDF, in collaborazione con ARTE. Bologna, Piazza Maggiore, 5 July 2004.
La Poupée (IT 1897–1901) P: Lumière. Starring Leopoldo Fregoli. Tre film girati in Italia ad inizio secolo. Association Frères Lumière
Lea Bambola (IT 1913) Starring Lea Giunchi, Raymond Frau (Kri Kri), Giuseppe Gambardella, Lorenzo Soderini. 6’. 123 m /18 fps/ 6'. Did. olandesi. ♪Alain Baents
Il Casanova di Federico Fellini (IT–US 1976) D: Federico Fellini. Estratto della sequenza della bambola meccanica. Centro Sperimentale di Cinematografia – Cineteca Nazionale
Die Puppe (Nukke, DE 1919) D: Ernst Lubitsch. 1375 m /21 fps/ 58’. Versione restaurata da Filmarchiv Austria. ♪Antonio Coppola
Archivbeat – Immagini di parate ginniche e sportive degli anni ’20, accompagnate da una selezione musicale beat a cura di DJ Clovis e DJ Ephémère
Besuch Herisauer Stadtmusik – Jahrmarkt Herisau (CH 1924) D: Willy Leuzinger. Cinémathèque Suisse
Marta Leuzinger und Nachbarsbubotti (CH 1927) D: Willy Leuzinger. Cinémathèque Suisse
Piccadilly (Yökahvila Piccadilly, GB 1929) D: E.A. Dupont. 108’. Copia restaurata nel 2003 dal BFI / NFTVA. Partitura composta e arrangiata da Neil Brand, diretta da Timothy Brock, eseguita dal vivo da Paul Clarvis (percussioni), Alec Dankworth (basso), Neil Brand (pianoforte), Jeremy Price (trombone), Henry Lowther (tromba), Rowland Sutherland (flauto), Julian Siegel (sax, flauto). Bologna, Piazza Maggiore, 9 July 2004. – Good tint performed traditionally in Rome, good projection, good music. Neil Brand's jazz score is inspired. – Dupont made classy films, but Varieté remains his overwhelming masterpiece; I look forward to a restored / good print of it.
OFFICIAL OPENING
Apertura ufficiale del Festival con Peter Weir, che parlerà sul tema Master and Commander: tra classicità narrativa e nuove tecnologie.
SPECIAL EVENT
Saraband (Sarabande, SE 2003) D: Ingmar Bergman. 107'. HD Sonycam. SVT Fiktion. Anteprima nazionale proiezione in digitale dell’ opera più recente del maestro svedese. Introduce Torbjörn Ehrnvall, assistente di Ingmar Bergman.
SURPRISE FILM
Torna a Napoli (not released in Finland, IT 1948), D: Domenico Gambino, starring Nino Manfredi, Maria D'Ayala, Carlo Lombardi. Francesco, a young American soldier, falls in love with an Italian girl, Lucia, during a journey in Italy. Because of some old problems between the families of the two lovers, a marriage between them is absolutely out of the question. After a series of misunderstandings, some of them dramatic, Francesco and Lucia's fathers reconcile and bless their son and daughter's love. – Homage to Nino Manfredi, his first starring role, one of only two surviving prints of the film. Cineteca di Bologna, Ripley's Film.
