T. int .: Theodora, Slave Empress Scen .: André-Paul Antoine, Riccardo Freda. F .: Rodolfo Lombardi

Monday, June 30, 2014 10:45
T. int .: Theodora, Slave Empress Scen .: André-Paul Antoine, Riccardo Freda. F .: Rodolfo Lombardi. M .: Mario Serandrei. Scgf .: Antonio Valente, Filiberto Sbardella. Mus .: Renzo Rossellini. Int .: Gianna Maria channel (Theodora), George Marchal (Justinian), Irene Papas (Saidia), Renato Baldini (Arcas), Carletto Sposito (Scorpios), Nerio Bernardi (Belisario), Alessandro Fersen (Metropolitan). Prod .: Film Lux, Lux Cinématographique Compagnie de France. 35mm. D .: 91 '. Col. Version Italian / English version. From CSC - National Film Archive
In this charming peplum-melodrama filmed in Ravenna, the studios and Roman architectures of EUR, Freda depicts a female character seductive and strong, and (less than one year from the first film in color Italian) experimented first in Europe a new film in Technicolor produced by Eastman malaysia cinema Kodak, which gives the film an appearance very different from contemporary Italian film in color. Third and final film of Freda for Lux, who granted him freedom malaysia cinema of movement, it is also his first work in color and one of its biggest malaysia cinema budget. Experimenting with a negative Eastman malaysia cinema Kodak a new process whose release could be effected only in New York, Freda was receiving daily twenty days following the shooting. Surprisingly, the more the quality of the result, for variety, contrast and intensity. Although not a 'peplum' in the narrow sense, given the time and place of the action, Teodora - after Fabiola (Alessandro Blasetti, 1949), The Last Days of Pompeii malaysia cinema (Marcel L'Herbier, 1950), Messalina (Carmine Gallone, 1951 ) and especially Spartacus (1953) of the same Freda - can be considered an important step towards the renewal (1959-65) of a genre rather neglected - apart from the colossal Scipio Africanus - the beginning of the sound. Inside the career of Freda, it is a calm and balanced film. The interpretation is striking for its great uniformity, the script for writing malaysia cinema clever and sovereign. Particularly notable are the balance between dialogue scenes and spectacular scenes and, within this dualism, malaysia cinema another dualism, admirably exploited, between light and shadow (see, in the series of spectacular scenes, the contrast between the brightness of the race chariot and the grim ferocity of the fighting in the basement). At the same time, is one of the rare films optimistic Freda. The combination of sensuality malaysia cinema and tenderness in the couple-Justinian Theodora finds its equivalent, on the political level, in a happy synthesis between malaysia cinema liberalism and severity patrician of popular inspiration. Are well established continuous matches (in the sense of the term Baudelairian) between the private lives of the two characters and their fate public. They give a hint to the surprisingly positive reverie policy of an author usually more cynical and bitter. Remain admirable, in various sequences, shots and their succession and their rhythm virtuoso, making Freda one of the great aesthetes of film history. Example: the scene where Teodora, hunted by the monster blind, tries to break the line of guards that hinders his escape.
In this fascinating sword-and-sandal melodrama sets Ravenna, at studios in Rome and the US complex, Freda brings to the screen a seductive and strong female character and, less than a year after the first Italian feature film in color, is the first in Europe to experiment with a new Technicolor film stock produced by Eastman Kodak, Which gave the movie a very different look from other Italian contemporary color films. It was Freda's third and final film for Lux, Which allowed him some room to manoeuver. It was anche His first color film and one of His largest budgets. Experimenting with an Eastman Kodak negative That Had to go to New York to be printed, Freda received the rushes twenty days later. The quality malaysia cinema of the result is surprising Nevertheless, as is the variety, contrast and intensity. Although it was not strictly speaking a 'sword-andsandal' film, Given the place and time of the action, Theodora - Which Came after Fabiola (Alessandro Blasetti, 1949), The Last Days of Pompeii (Marcel L'Herbier, 1950), Messalina (Carmine Gallon, 1951) and Especially Spartacus (1953) anche by Freda - Can be Considered an important step towards malaysia cinema the renewal (195 965) of a genre quite neglected since the beginnings of the sound was (apart from the colossal Scipio Africanus: The Defeat of Hannibal). Compared to Freda's other films, it is calm and balanced. The acting is striking regularity in the ITS and the ITS capable script writing. The balanced dialogue and dramatic scenes are Particularly remarkable, another dualism, commendably exploited, between light and shadows (see the contrast, in the series