Early & Silent Film

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The Mask and the Face / La maschera e il volto, Italy 1919

Posted by keith1942 on August 6, 2019

Savina, Paolo, Marta, Luciano

This film was part of the programme ‘A Hundred Years Ago: 1919’ at Il Cinema Ritrovato. The programmers, Mariann Lewinsky and Karl Wratchko, commented in the Festival Catalogue:

“1919 is the first year of the A Hundred Years Ago strand for which a certain canon exists … [ Stroheim, Gance, Dreyer ..] we decided, as in every year since 2004, to go on a pilgrimage to the archives and view as many films from 1919 as possible.”

So this title from Italy is not a masterpiece though it is a very interesting film. The director, Augusto Genina’ is an important film-maker from the period. The story is adapted by Luciano Doria from a play by Luigi Chiarelli.

“… a three-act play … first staged in 1916 – a resounding success that gave birth to a new national theatrical movement: ‘grotesque theatre’, which staged the exasperation of bourgeois comedy.” (Andrea Meneghelli in the Festival Catalogue).

Apparently the film, the first of several adaptations, plays down the ‘grotesque’ elements.

Savina Grazia (Italia Almirante Manzini) is married to jealous husband Paolo (Vittorio Rossi Pianelli). His possessive actions drive her into an affair with Paulo’s close friend Luciano (Ettore Piergiovanni). Luciano is a lawyer and himself engaged to Marta. Paolo, at a social, boasts that if his wife is unfaithful he will kill her lover, unaware that this is actually Luciano. An important sub-plot, only partially explained, presents a couple of a boat on the nearby Lake Como. The couple never leave the boat and Paolo’s friends believe that

“Her husband is a terrible Othello.”

Paolo’s violence leads to Savina fleeing the house. To maintain face Paulo falsely claims to have killed her as a matter of honour. Luciano, who believes this, defends Paulo against a murder charge and achieves an acquittal. Now the body of a woman is found floating in the lake, decayed beyond recognition; possibly that of the woman on the boat. But everybody assumes that it is the body of Savina. This sets up the story for a complicated but upbeat ending. Here Genina’s ending is more in line with traditional social comedy than the ‘grotesque theatre’.

The film is entertaining and well performed by the cast. The style is fairly conventional for the period but there are some excellent location sequences. This balances some of the interiors which are somewhat theatrical in their staging. The print was in good condition though it was slightly shorter than a recorded length for the original: there were a couple of scene changes that were a little abrupt. But the image quality was fine. There was a nicely appropriate accompaniment by Daniele Furlati.

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