Dante Alighieri is one of those great figures of such high stature, which returns difficult to approach. On the other hand, the conception that we do have, formed through the centuries and the immortal greatness of his poetry, hardly allows us to adapt the idea to see a protagonist of any story or fictional drama, without the eyes of our mind and lessen any strip of mythical grandeur and solemnity, without which we are led to laugh doubtfully . For as much as art and feeling you put in so doing, will always seem to have been inadequate to the task, and perhaps these are. Thus, Giovanni Bovio, superb intellect of an artist and a philosopher, addressing the figure of Christ, in his dramatic work, did not ever appear on the scene, but that he had heard the voice and the high word, because the value spiritual him, its immensity, was not marred by a vision material, the results of which may not always be safe. It was certainly an act of great artistic consciousness and intellectual superiority. For its part, Valentino Soldani, author conscientious and noble, he thought that it was not possible to reduce the figure of Dante's life and cases subject to a common stage game, without prejudice or lower it to reality, perhaps sometimes taste too domestic and below our imagination. Dante Alighieri, seen through its ups and downs of a man and a poet, although complying with the historical truth, could not care nor persuade. There is indeed, certainly appeared a deplorable affront. In order i! Soldani resolved and passed very well The problem with this evocation of Dante, weaving and not doing the particular story of Dante and his life, but by framing her figure in the tumultuous events of his time, the political, civil and family, to which Dante above, appearing almost to end,
as a solitude of thought and power, as a silent mass of brooding sorrow that hears and sees ...
Valentino Soldani, deep knowledge of iron and turbulent fourteenth century, he composed a story in which the political drama, the drama society and the human drama of the century, as was rightly pointed out, merge and interpenetrate, impinging on the soul and life Dante, the more that do not overwhelm the turbulent events and serious. You can dire che la visione storica fornita dal Soldani faciliti la comprensione di Dante stesso, l'aiuti e la popolarizzi, lasciando travedere da quali movimenti sociali e politici maturò la coscienza di lui e trasse la sua arte la prima ispirazione.
Ma fino a qual punto le intenzioni del Soldani sono state raggiunte?
L'ampiezza dell'argomento e del suo sviluppo, il cumulo degli episodi! storici e dei ricorsi letterarii, riferentisi alla materia della «Comedia», che esso abbraccia e prospetta, la moltitudine dei personaggi, rendono il film farraginoso e fanno sì che smarrisca quella limpida chiarezza che è pur tanto necessaria a qualsiasi opera artistica, perché il suo stesso valore intrinseco, formale e costruttivo risulti indiscutibile. E la costruzione, l'edificio che sorge su tali basi, sorpassa i suoi limiti e pecca necessariamente nelle sue proporzioni. Così l'opera acquista un aspetto massiccio e mastodontico, grave e pesante, anzi che un aspetto solenne e grandioso. Tuttavia rimangono salvi tutti i valori ideali dell'opera, che si sprigionano e superano la sua stessa materialità e ampiezza. Ma non possiamo tacere il nostro disappunto per l'abuso di alcuni simbolismi che appariscono troppo rudi e realistici, troppo materializzati e cinematografici. Quelle piogge di rose celesti, quelle apparizioni di angeli con ali di cartone o di demoni mascherati non possiamo approvarle. Ci sembrano di cattivo gusto, volgari ed oleografiche. La sosta di Dante sotto il balcone di Beatrice now married, while the memories of childhood and youth the assault, it lasts a bit 'too much and makes the poet so forgetful down there, quite ridiculous. It is at least inappropriate to the moment when everything happens. The materialization of the dream of Dante, poet of being crowned in the beautiful St. John, is shocking and disturbing for its materialization. The integration of figures and cases of Piccarda Donati, Pia de 'Tolomei and Francesca da Rimini, if properly respond to illustrate the human drama that takes place in correlation with and dependence on civil rending drama Florence, with the struggles, that is, the factions and families, and slows down the action and makes long-winded and tedious. The sameness of situations, the analogy of the cases diminish the effect that if he wanted to make, discover the trick play, the mezzuccio of their connection.
Nothing less partisan struggles of the circle and Donati, competitions of their factions, and exhausting travaglianti Florence, the passionate drama of the Coronella Lottaringhi and Mark de caligae, a consequence of them, the torment of Dante, his sorrowful passion Florence and Italy, his prophetic dream of the unity Italic get considerable relief, and form the living and vital part of the whole movie.
Faithful and bold reconstructions, disciplinatele masses and the great stage play of all actors, including Hamlet remember Novelli, Diana Karennc and Maruffi.
However, apart from its defects, taking account of all the best there is, in Dante's life and his time as a film, represents an unusual effort of hard work and a work of fervent Italian, where beauty abounds together with a widespread sense of art and history from which s'apprende how painful the renewals on time and there is a warning to us that we renew the exploits of the factions and hatreds of a party, against whom Dante threw his anathema.
Valentino Soldani, who conceived the plot and planned i! work, Domenico Gaido, who took care with the intention of the artist staged the "VLS", which provided the powerful financial resources that enabled the realization of the vision storica, Carlo Montuori e Emilio Peruzzi che la ritrassero con magnifica fotografia, possono dirsi soddisfatti e andar onorati di questa loro fatica, dove la genialità italiana ancora una volta sprizza e si afferma.
(La rivista cinematografica, 25 marzo 1923)
Film restaurato nel 1995 dalla Cineteca di Bologna (Immagine Ritrovata), con il contributo della Provincia di Ravenna e del Progetto Lumière (copia della Filmoteca Española, Madrid e Jugoslovenska Kinoteca, Belgrado), copia colorata metodo Desmet, 108 m. a 16 f/s.
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