When it comes to Le Giornate Del Cinema Muto it’s very much a second home too many of us at Bristol Silents. Many of us have been going for nearly ten years (some even longer), but it has always been a major highlight of the film festival calendar.
Well, the 31st Le Giornate Del Cinema Muto is nearly upon us (it kicks off on Saturday 6th October, 2012) and we couldn’t head off without noting down what we are looking forward to in the coming week. Underneath is just a selection of Top Fives (more or less) on what some of us at Bristol Silents and many of our friends are looking forward to this year at Pordenone. See you guys all out there!
Ayşe Behçet (Pordenone Collegiate 2012, Charlie’s London)
I deffiantly fancy The Patsy (1928) (shame it isn’t Show People) and the Georges Méliès Robinson Crusoe (1902) film!
Stavo girando con i Benetti e Collo il film Spine e lacrime, quando una telefonata mi avvisò che l’avv. Barattolo desiderava parlarmi.
Quando gli fui di fronte, Don Peppino mi chiese:
«Ha del coraggio, Ghione?»
Il mio viso interrogò muto; egli prese un foglio di carta e me lo porse.
Era un contratto, per l’esecuzione, in termine dato, di un soggetto, scritto da Donna Matilde Serao. Per il complesso artistico, erano imposti due nomi — Signora Maria Carmi, e Tullio Carminati.
L’avvocato osservò:
«Il contratto è gravoso, per la limitazione tempo, a giorni settantacinque consegna, copia positiva campione, con titoli. Che dice, Ghione? Siccome dipende da lei, si deve fare?»
Porgendogli l’impegno, risposi:
«Firmi».
Mi tese la mano, la promessa sarebbe stata mantenuta. Ebbi il manoscritto, dal titolo:
La mia vita per la tua.
La signora Maria Carmi, già la conoscevo: aveva girato alla Cines il film Retaggio d’odio ed alla Savoia Film l’Accordo in do minore palesando un temperamento non comune, per quanto poco sfruttato da impari direzione. Dovendo essere la protagonista del nuovo lavoro, ove si svolgeva un ruolo di donna fatale, decisi di essere, giudicandola donna di spirito, molto franco con lei. Le dissi che pur riconoscendole doti squisite d’artista, non approvavo completamente il suo recente operato e la pregai di seguirmi e d’essere mia collaboratrice. Apprezzò infinitamente la mia sincerità, si che mi fu nel lavoro, camerata gentile e valorosa.
Emilio Ghione e Maria Carmi, La mia vita per la tua (1914)
Roma, 15 settembre 1914. Maria Carmi parla del soggetto che Matilde Serao ha scritto.
I grandi occhi dilatati come nell’estatica contemplazione di un sogno, le labbra tuttavia frementi, quasi agitate da un vivo palpito interiore, aveva terminato allora il suo quadro e s’abbandonava ad un momentaneo riposo, lì, sulla ridente veranda del teatro di posa.
— Siete stanca?
— No, no… Tutt’altro! — rispose — Io non mi stanco mai. Sono commossa, invece!
Infatti palpitava tutta, come agitata da un possente fremito interiore, che non riusciva a domare.
— Guardi. Questo soggetto mi prende tutta. Poche volte in teatri di posa mi è capitato in egual modo di immedesimarmi completa ed intera nel personaggio da rappresentare. Nelle brevi ore che passo davanti all’obbiettivo, questa volta mi sembra davvero di sdoppiarmi in una vita nuova, tanto le situazioni del dramma ed i sentimenti del personaggio si ripercuotono in ogni mia fibra! Creda pure: Matilde Serao con questo soggetto che noi stiamo interpretando, non solo ha mostrato ancora una volta di essere la massima scrittrice moderna, ma anche rivelato delle magnifiche attitudini teatrali e, quel che più conta, ha saputo fare del cinematografo vero come nessun altro autore sin’oggi.
Dunque Maria Carmi era entusiasta del lavoro che eseguiva. Il suo entusiasmo appariva tanto più sincero, in quanto che ella, di solito così restia a parlare di sè e dell’opera propria, ora s’indugiava ad esprimere la sua ammirazione per l’opera da compiere.
— In questi giorni — ella continuava a dire — qui, nel nitido e ridente teatro della Caesar Film le assicuro che, impersonando la passionale e bizzarra eroina immaginata dalla Serao, ho provato effettivamente delle sottili sensazioni nuove e delle emozioni indescrivibili, come se sul serio fossi proprio io stessa in persona la protagonista dell’avventura. E’ questo il primo successo del lavoro, giacché, anche prima di avvincere il pubblico, Matilde Serao ha saputo ottenere sì viva opera di suggestione sui suoi interpreti. Evidentemente, la grande scrittrice italiana ha dovuto proprio sentire nella sua anima i fremiti ed i palpiti che ha immaginato per le persone della sua fantasia; onde il lirismo di tutto il dramma è così penetrante, che deve necessariamente commuovere noi stessi attori, che siamo chiamati ad essere, per lo più, solamente mezzo di riproduzione.
Volemmo indi richiedere alla illustre attrice qualche particolare sulla trama del soggetto, ma ella si ricusò risolutamente:
— Si tratta di un grande dramma veramente umano, in cui sono messe a nudo delle passioni ed in cui il più ineffabile dolore è espresso in un’azione rapida, stretta e densa. Non posso dire altro.
Credemmo inutile insistere ancora per ottenere un’indiscrezione sullo spunto del dramma. Mario Carminati (sic Tullio) — il magnifico attore della compagnia Di Lorenzo, che la Ditta Coscia e Xilo ha espressamente scritturato per assicurare un’insolita solennità d’arte all’esecuzione dell’eccezionale lavoro — ed Alberto Collo, venivano a riprendere la diva, mentre dal teatro di posa si avvertiva che la nuova scena era pronta.
Immediatamente il volto di Maria Carmi assunse quella sua caratteristica profonda impronta di passione, gli occhi sfavillanti, la bocca dischiusa come ad un irrefrenabile sospiro; si avviò alla scena, già trasformata nella fisionomia, già fremente nelle vibrazioni della parte.
Emilio Ghione, il prezioso direttore, disponeva colla sua calma serena e precisa il succedersi dei quadri; e noi, assistendo, pensavamo che lì, nel nitido e tranquillo teatro della Caesar Film, si preparava davvero il maggiore avvenimento di arte cinematografica italiana: un soggetto di Matilde Serao, un’interpretazione entusiastica di Maria Carmi col concorso di Carminati e dei migliori artisti della Caesar Film; un’altra squisita direzione di Emilio Ghione… Era dunque il caso di non lesinare elogi e rallegramenti ai due giovani ed intelligenti iniziatori di questo inaudito avvenimento, i componenti la Ditta Coscia e Xilo, i quali hanno così mostrato di comprendere veramente che cosa sia nei tempi attuali un’iniziativa destinata a suscitare il massimo interesse nel mondo intero. E. Fornoni
Dalle memorie di Emilio Ghione: «Tullio Carminati disimpegnò abbastanza bene il ruolo suo, di primo attore, ed Alberto Collo, fu efficacissimo nel sostenere la parte dell’ammalato d’amore. Alla visione del film, Donna Matilde, fu veramente entusiasta, e me lo espresse con quella sua famigliarità tutta partenopea, applicandomi sulle guance un chiassoso paio di bacioni. Honny soit, qui mal y pense!»
July 30, 1912. Mutual Film Corporation have procured exclusive United States and Canadian rights on the original One hundred one Bison, also Bison Broncho and Keystone films, effective two weeks from date. You can commence to buy immediately.
August 3, 1912. Keystone Films. Ready for release week of August 12th. Two releases weekly, Wednesdays and Saturdays.
Wednesdays: A split-reel comedy and always a feature, supported and made by Mr. Mack Sennett, Mr. Fred Mace, and Miss Mabel Normand, the greatest comediennes, all well known and popular players in motion pictures throughout the world.
Saturdays: A feature dramatic in one and two reels played by a strictly “All Stab” Stock Company, consisting only of “Stabs”, and only of the most prominent and popular “Stars” in motion pictures playing all parts in the cast.
August 10, 1912. Mutual Gets Empire Film Exchanges
Will Also Handle’ Bison-101 Pictures — Acquisition of Great Importance to Film Supply and Mutual Interests.
Developments of the greatest importance to exchange men and exhibitors allied with the Film Supply Company and the Mutual Film Corporation occurred during the past week. It had been rumored for some time since the Baumann and Kessel interests deserted the Universal Film Manufacturing Company, that an alliance with the Film Supply Company was a possible alternative outlet for the product of the New York Motion Picture Company. Negotiations were opened which culminated in an agreement between the Mutual Film Corporation and the New York Motion Picture Company whereby the Mutual will market the product of the New York company under the trade marks ‘”Bison-101,” “‘Keystone” and “Broncho” pictures.
The Mutual Film Corporation has also purchased the Empire Film Exchange, which operated four distributing offices, and the stock and equipment of these exchanges will be merged into branches of the Mutual.
The negotiations in these transactions were finally concluded on Monday, July 29, and are the most recent in a long series of steps initiated by a group of Western investors, under the leadership of Mr. H. E. Aitken, for the purpose of improving the organization and increasing the efficiency of the Independent film service.
Mr. Aitken came to New York in the Spring of 1911 and took over the old Hudson Film Company, changed it into the Western Film Exchange of New York, and improved the quantity and quality of its business. He then organized the Majestic Motion Picture Company, and that Company’s energetic assertion of its right to do business has been a great factor in the re-organization of the Independent film manufacturers. Having, in the meanwhile, acquired valuable patent rights through Precision Camera Company, these interests then purchased control of the Carlton Motion Picture Laboratories, making the “Reliance” pictures, from Baumann and Kessel.
The next step was the organization of Mutual Film Corporation, which took over, upon its organization, the Western exchanges in New York, Milwaukee and Kansas City, Majestic exchange in Chicago, the H. & H. Exchanges in Chicago and Des Moines, Lake Shore Exchange in Cleveland, and Cadillac Exchange in Detroit. Shortly thereafter the Mutual Film Corporation acquired the Michigan Film & Supply Company of Detroit, the Buckeye Lake Shore Exchange of Columbus, Ohio, and Progressive Exchange in Omaha.
Since its organization in February, the Mutual Film Corporation has opened exchanges in Boston, Indianapoli.-. Philadelphia, Toledo. Washington, D. C, Atlanta, New Orleans, Dallas and Cincinnati.
After the organization of the Mutual was well under way. Mr. Aitken, in co-operation with Mr. Charles J. Hite and others, negotiated Mr. Hite’s purchase of the Thanhouser Company.
In the meanwhile the suits brought by the Majestic Motion Picture Company against the Sales Company and its officers and constituents caused the disruption of the Sales Company, with the result that the Film Supply Company of America with its extensive programme was organized.
Most recently the Mutual Film Corporation, as before mentioned, made arrangements for the acquisition of the four Baumann and Kessel film exchanges in New York, and for the control of the Bison No. 101 film, and it is said that negotiations are on for other valuable film enterprises.
The results outlined above, have been achieved only after years of unremitting effort, and the present strong financial backing of Mutual Company gives great promise of achievements in the future.
The consistent purpose of this group of men has been to improve the character of the Independent film and to afford exhibitors an opportunity to purchase film of the highest quality manufactured.
It should be noted in this connection that the Mutual has moved its executive offices from 145 West 45th Street to 60 Wall Street, where a handsome suite has been engaged.
Baumann & Kessel Eliminate Politics
For many years aggressive leaders in the film business. C. O. Baumann and his partner, Addie Kessel, are divorcing themselves from the politics of the trade and henceforth will devote all their energy and attention to the production of film. This is made possible by the contract entered into with the Mutual Film Corporation, whereby the latter company has purchased outright the Baumann-Kessel exchanges in New York City, and has taken the agencies for the United States and Canada of “101-Bison,” “Broncho” and “Keystone” films.
Mr. Baumann stated to a representative of The World that he was much pleased with the arrangement made with the Mutual Film Corporation, which is composed of men of high standing in the business world and of undisputed integrity as well as possessed of tremendous financial support.
“‘We will deliver to the Mutual every week a minimum of six reels per week, consisting of 101 Bison one, two and three-reel subjects; Broncho films, which are similar subjects produced by different stock companies, and Keystone films, split-reel comedies and dramatic subjects in which appear many popular players. Mr. Max Sennett is the director of Keystone films, in which he will take part, supported by Miss Mabel Normand. Fred Mace and others.
“I am gratified at the reception the exhibitors of the world have given 101 Bisons, and with my mind now free from the perplexing worries which have hitherto prevented my giving my entire time and attention to the manufacture of films, I can promise even better subjects than have been previously released.”
The amount of cash involved in the deal between Messrs. Baumann & Kessel and the Mutual Film Corporation runs into high figures, making it one of the most important transactions that have taken place in the trade for years.
August 24, 1912. Keystone Films are new in name only. They are produced by the company heretofore with the Biograph Co., and directed by the same man Mr. Mack Sennett. The quality of these films is well known to exhibitors.
Mack Sennett 1912
August 28, 1912. Mack Sennet, director, and Mabel Normand, leading woman, of the Keystone company of the New York Motion Picture Company, arrived in Los Angeles August 28 as the advance guard of a new company which is to be located in the old Bison plant at Edendale. Both were formerly with the Biograph Company, and others from the same company are said to be coming later. The Keystone brand of films, according to report, are to be produced from Los Angeles hereafter.
September 14, 1912. The Mutual Film Corporation will make the first release of Keystone films, for which it holdes the exclusive agency for the United States and Canada, on Monday, Sept. 25, with a split-reel comedy, “Cohen Collects a Debt” and “The Water Nymph.”
The leading parts in Keystone films are played by Mack Sennett, Mabel Normand, Ford Sterling and Fred Mace, supported by a strong cast. This quartet comes to the Keystone Co. from the Biograph, and their work is well known throughout the world. Mr. Sennett continues as director.
Shortly after Sept. 25 two reels of Keystone will be released, the reel made by Mr. Sennett and a dramatic production by another stock company, of which full particulars will be given when release dates are fixed. The Keystone comedy on Monday will always consist of two snappy subjects.
September 21, 1912. Doings at Los Angeles
Many Extensive Improvements Being Made in Picture Studios
Extensive improvements are in progress at three of the motion picture studios in this city. A large force of workmen is now engaged in erecting the new buildings at the plant of the Brand Advanced Motion Picture Co., located on a 40-acre tract in the San Fernando valley near the town of Burbank. The Universal people are spending a great deal of money on their new outdoor studio at Oak Crest near Los Angeles, where they have bought and leased a tract consisting in all of about 20,000 acres and are planning to build the largest motion picture plant in the world. James Young Deer, director of the Pathe Western company, has practically concluded the negotiations for the purchase of 35 acres of land at Edendale and architects are now at work on the plants for his studio, which if it will not be the largest in the world will be one of the most modern and one of the best equipped.
Preparations are also being made at Edendale for radical changes and extensions of the old Bison plant of the New York Motion Picture Co. Charles O. Baumann and A. Kessel are here from New York for a personal inspection of the plant and Mack Sennet, the director of the new Keystone company, preceded them by a couple of days. Sennet, with the assistance of Mabel Normand, Henry Lehrmann and Ford Sterling, who came from New York with him, and Fred Mace, former director of Imp comedies, is already at work at the Edendale plant making comedies for future release. The balance of the company was employed here, being recruited from the ranks of other companies on the ground. Fred Balshofer has announced that there are to be two Western releases a week by Ince and Ford, two split reel comedies, one by Sennet and the other by Mace, and one dramatic by a director who is coming on in a few days, but whose identity is not to be revealed at this time. It is reported that Baumann and Kessel, before they return to New York, may have other important revelations to make.
Mabel Normand, Keystone Films 1912
(news & images from The Moving Picture World July-September 1912)
sempre in penombra 