Roma, 14 gennaio 1911. Dall'epoca nella quale la grande marca, romana si era tionfalmente imposta sui mercati cinematografici, with Macbeth, the ' Adriana Berteaux the Cenci, the Cid, and other excellent films, it was noted in its production, such as a sense of fatigue, so much as to believe that the intense heat of 'Roman summer they sap the energies of the directors and artists. But just in here, so here again the good work: many comic scenes, full of wit, a ' Anita Garibaldi, a Catiline (excellent), a secret police, and now a' that Agrippina for accurate staging, for refinement of detail and for reconstruction of Roman circles, is really a film unsurpassed. Each costume, each mobile, each tool is designed, studied, prepared with that loyalty, to please any cantankerous critic in Rome.
Enrico Guazzoni, datas from a few years to the study of film, was the stage director of this great film, and valuable employees and advisers were Count Carlo Muccioli and cav. W. Rinaldi, two artists who, in the study of the habits and customs of ancient Rome, spent many years of their lives.
However, if the job is really full on the side of the staging shows for deboluccio cuanto concerns the interpretation of the various characters.
I will say now that the parties have had the background to emphasize the merit of the artists, which were expertly handled.
Mrs. Sturiakalk has been very effective in the role of the Locust prepared cold poisons, and she was good buddy Dolfini the actor in the death of the slave, who, before drinking the poison, he sensed the wretched its end, has been able to make evident the excruciating agony prodottogli Locusta hands him the drink, without ever verging on the ridiculous, which would have been easy to fall into a similar situation: with them I like to remember the Moltini (Aniceto). simple and fair, especially after the murder of Agrippina.
But the main parties, I seem to have been poorly distributed. Agrippina does his best, but it's too little! and that part must have cost to stage director, an exhausting trial! Accustomed to the eye does not escape that quell'Agrippina moves, has tantrums, acts of rebellion, just because the director wanted it: it's all taught, stuck with great patience: there is a time when 'actress, (young and beautiful, after all, and very well put) has heard the part: perhaps has harmed the conviction, which must have had, which represent Agrippina, was a task beyond your strength.
Nero kicks and ponders too much: others do not stand out, either good or bad.
seems to me that, given the importance of the subject, given the cost of staging, most due care would have to distribute the shares of Nero and Agrippina, to ensure complete success in the film.
guess better interpretation would Vittorio Rossi Pianelli on the part of Nero's, saving its susceptibility of stage director, he had been asked to accept in part, and that Agrippina was wonderful Maria Gasparini, the tragic first lady of Cines. If she had been the star of this film! ...
And I think that it is not the only one who thinks so.
the slanderer (The Life Film Festival, January 1911)
Film restored by the Cinematheque of Friuli from a nitrate donated by the Bundesarchiv / Filmarchiv di Coblenza. 300 m., 16' (16 fps).
Nel sito della Cineteca del Friuli il film รจ del 1906.
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