Should You Shower Before You Wax?

L'Arzigogolo, Alba Film 1924

A scene from the Medieval Village (Parco del Valentino, Torino), on the right of the fountain Maniscalco, left the porch Aschieri.

Here is a proposal for restoration of Turin and the Region Piemonte (al Museo del Cinema lo avevo proposto più di due anni fa, ma lo ri-propongo , non si sa mai). L'Arzigogolo fu uno dei grandi successi della stagione 1923-1924. La copia è stata ritrovata anni fa, non ho altre notizie.

«Nell' Arzigogolo è ritratto il dramma dell'uomo fatto schiavo e costretto al ridicolo per campare la vita di fronte alla tirannia.

Il lavoro, rappresentato per la prima volta al Teatro Costanzi di Roma, la sera del 17 ottobre 1922 dalla Benelliana condotta da Alessandro Romanelli, ebbe molto successo. Interpreti principali furono Tina Pini, Giuseppe Sterni, Aldo Silvani, Leo Bartoli.»
(da Sem Benelli, his theater, his company, 1928)

"This film is reduced to the screen of one of the best works of the Italian drama is the author contemporaneo.Ne Sem Benelli, one of the most original poets of the Auditors' Italy of the present moment.
Sem Benelli is an author who gained fame through a hard training, that is, through all the difficulties and disappointments that life prepares art to those who want to follow.

His first works in fact, a child of the times , lyric poem; Lassalle, historical drama in four acts, and Earth, peasant tragedy, did not like either the public or critics.

The poet tried frantically, in these early efforts, the inspiration and the way forward. Moth, a comedy in which he staged his tears intimate story, and The Mask of Brutus gave, with the first by the public, faith and courage to Sem Benelli. He then wrote

The Supper of the Pranks , a job that suddenly raised to the honors and fame more than a great poet can hope for. The success of the Pranks Dinner was so great and so indisputable, that its value as a kind of shadow cast on the works that came out later by the fervid imagination of the author. Who had composed a poem such force and beauty, we expected perfection. Reason that the works written after the dinner , Love of Three Kings, The cloak , Rosamund , The Gorgona , The Marriage of the Centaurs and Ali had to settle for climbing, nell'estimazione public at lower altitudes in some ways to those which already achieved the masterpiece that had preceded them. The latest products of intelligence were his The Holy Spring el ' convoluted.

The last work performed for the stage by Sem Benelli preserves, in its film adaptation, fidelity version in all but the final, which, in perfect agreement with the author, was transformed and lose its color and took on tragic, one happy.

The exterior for the movie were filmed in Turin ( including the Medieval Borgo and Rocca ndc the Valentino Park) and nearby. As the building was used as the Pittaluga Fert. The interpretation of the work competed

artists of the highest value of world cinema and the theater.

work, they talked extensively about the newspapers, he managed rich in artistic merit.

A particular novel interesting is that provided by a tiny amount of artists who interpreted one of the scenes features the first act, we want to allude to the mice and cats at the banquet. These animals needed a long and patient training to get used to move between the actors and in an environment so filled with light and life. Even some of the artists had to struggle hard to adapt to be invaded by unwelcome visitors. But the biggest challenge came when it was the massacre of children that were supposed to carry rosicchianti their ferocious enemies, the cats. These hate mice, but they are in their hatred an exception: they have an instinctive aversion to the white, before which lost every warlike spirit, and retreat in horror. As anyone can imagine, the situation that nacque fu delle più comiche e delle più difficili nello stesso tempo. Ci volle dei bello e del buono per indurre i gatti a fare il loro mestiere , ma vi si riuscì finalmente. L'Arzigogolo di Sem Benelli, riduzione scenica in 5 parti di Mario Almirante, ha i seguenti interpreti :
Violante: Italia Almirante. Spallatonda : Annibale Betrone. Floridoro: Oreste Bilancia. Il conte Giano: Alberto Collo. Il Signor di Carpi : Vittorio Pieri.
Costumi della Casa Caramba e della Sartoria Teatrale Zamperoni.»
(dalla pubblicità del film)

«Nella direzione artistica e tecnica, Mario Almirante si è posto alla testa dei metteurs-en-scène italiani pari per abilità di inscenatore a Griffith, per coloritura drammatica a Lubitsch, per finezza e grazia ad Abel Gance. Artista sensibile e raffinato, ha saputo impadronirsi del carattere dei singoli personaggi del dramma e svilupparsi in limpidezza di espressioni significative, con un crescendo wagneriano, sì che ogni ombra come ogni palpito messi in luce, hanno potuto, nell'essenza spirituale, conservare l'impronta fastosa e torbida. Nel piccolo castello medioevale del Valentino, abbiamo avuto la sensazione di essere stati trasportati indietro nei secoli: tutta la nostra modernità di idee e di abitudini si è sfaldata, come per un incantesimo, e con gli interpreti abbiamo vissuto la vita di quel tempo, nell'amalgama più Complete. "
(Luciana Grimaldi, The Life Film Festival, November 1923)

To see a snippet: inpenombra YouTube

1976 Chrysler Trihull Boat I/o

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According to Vittorio Martinelli Denis and Lotti, authors volumes dedicated to Emilio Ghione, few - none - news on this film. Here is the plot, a critical ... (The search is a few years ago).
We are ready to rediscover the film and make it available (as usual) for everyone?

The action takes place in Paris. In the quiet hours of the morning when the comings and goings of people in the market, announces the start of the day work, the ironing Luisetta, aided by Za la Mort, he opened his shop, and soon after entering the employees to resume their daily work.

Separated from his comrades, completely forgotten about his past life, Za la Mort delivery to the work of the remedy its mistakes and is content with a simple life working in the market, and every day, helps in its Luisetta Ironing refusing to receive any compensation.

Soul of the old apache germinates a passion, and the powerful voice of love can not drown in the hard daily work, but Za, hides in his secret love for the beautiful laundress.

One day, closing the windows of the shop Luisetta, Za la Mort has fatto un piccolo taglio con un pezzo di vetro e guarda come un tesoro la benda che lei gli ha messo nella ferita in ricordo del suo amore segreto.

Questo spirito rude, che era stato invaso da tutta la violenza e tutte le passioni e non conosce la paura nei maggiori pericoli, trema come un bambino quando Luisette lo ringrazia mentre porta un sacco di carbone o fa qualsiasi piccolo servizio che egli considera come un omaggio alla donna che ama.

Ma Luisette, ha scelto già l'uomo al quale offrire una vita di duro lavoro e onestà ... è innamorata di André, un giornalaio che ha visto nel lavoro della sua fidanzata, i mezzi di godere di un certo benessere, e non sente una passione degna del grande entusiasmo con cui Luisette attende the day to devote to their happiness ...

At this point a character appears on the scene, it's Brin d'Amour, an old friend of Za la Mort, which want to resume the old relations, but Za is opposed, not willing to fall never in the old mistakes ...

During a dance with the participation and also Luisetta André Brin d'Amour is aware of the feeling that Za test for the ironing and looking for revenge, the notes André.

Za, insulted in front of everyone, does not want to react, and is dismissed as a coward. He, the old apache, skilled at handling weapons, only for the happiness of Luisetta, finally accepts the challenge, but without the intention to defend themselves, willing to be killed in order not to lose Luisetta the man she loves.

The hour of challenge in the near clock tower, Za and André have chosen to fight in the alley ..

Za smiles while André is preparing to fight, and to avoid that in a time when self-preservation could be more about him in his decision to sacrifice himself, broke the tip of the knife against the wall and so helpless, you over to death, thinking that the sacrifice of his life is not useless ...

His last words are for Andre, which is in memory of her mother promise that if the challenge to go out with married life and make you happy Luisetta ... Qualche istante dopo, il coltello di André affonda nel petto generoso di Za la Mort che, traballante, ricorda ad André il suo giuramento.

Za, contenendo a malapena con la mano la sanguinante ferita, riesce a ritornare a casa sua dove, prendendo la benda con la quale Luisette aveva tamponato la piccola ferita fatta dal vetro della finestra, la preme contro il petto, nelle ultime convulsioni di agonia. Triste agonia di Za la Mort, che muore da solo in un angolo del suo cubicolo miserabile, mentre sulla strada suonano le chitarre celebrando che André è uscito indenne da una sfida con Za la Mort il terribile tiratore di coltello ... e Luisette passa al braccio di André giusto sotto la finestra della stanza dove l'apache, redento suffering from work and his love ceases to exist.


'Dell' Last company, created and performed by Emilio Ghione, and represented these days Ambrosio, I reported a very favorable impression. Emilio Ghione
Say I seem really unnecessary, Emilio Ghione is a great, great artist, from innumerable and varied resources, not lack fans or the school nor the character, and who knows how to successfully port, despite the winds and storms , his sturdy ship. And
The last company is not really as dramatic and scenic setting, too much of that, the action is low, quick, quick, although there is no, a vague hint of a plot, but everything is pale, thin, pale, confused in a single gray patina, which gradually cuts off breathing and reduces considerably the effect.
Poor plot, weak drama, poor color uniformity psychic these - it is useless to deny it - they are highly visible defects of creation.
However, the latest venture convincing and moving.
Who then merit?
The great, the alone, the real merit of the interpreter, the honor goes to all Emilio Ghione.
strange, complex and perhaps unique in this prince of the scene changes!
such as depth, which belies its impressive! And what and how much wealth di mezzi scenici ed emotivi nella sua arte mirabile !
Emilio Ghione è, come Capozzi, un dominatore, un vero re della scena; in Ghione la parte incarnata perde inavvertitamente ogni velo di finzione illusoria, e l'anima, l'anima pura ed intima della vita vissuta ci si palesa dinanzi, in tutta la sua chiara luminosità, con le sue luci e le sue ombre, le sue sintesi e i suoi dettagli; abbiamo innanzi a noi non una muta e pallida « ricostruzione » ma una « rappresentazione », o, per vero dire, una « visione » viva e completa di quella quotidiana esistenza, ove l'atomo misterioso della poesia delle cose, quasi sempre obliato dagli uomini inconsci, pare tremi e rifulga, con la voluttà silenziosa degli eternal enigma. Performance, therefore, no photographic or slavishly servile, but 'Paint', paint animator and fertile environments and men, and the spirit of things, done with masterful brush on the immense canvas of mortal life. This gives us
Emilio Ghione. His face, mysteriously enigmatic, lends itself wonderfully to embody and reflect the movements of the deepest and most fleeting of our soul, and so in love with hatred as well as in joy, bitterness, that his mask, several times dark and brooding as a herm tragic, brooding like a mirror of human pain, rarely happy and serene, like a fleeting image of happiness, it is of a thousand special colors, a thousand tragic aspects and speaks to our hearts with that same fearful solemnity with which he speaks to the eternal souls haunting tale of life and dreams.
just as I have sufficient opportunity to demonstrate in my next writing, the Cinema is one of the few routes where the human mind can proceed thoughtfully, with his doubts and his melancholy, to a kingdom of truth and silence, poetry and of mystery, where perhaps a new form of thought and dream is to materialize and appear free from all dogma and all philosophical canon, in light of the eternal Word unspoken, silent harmony '. and human affairs, in that' atmosphere of ecstatic meditation in which the spirit returns to unknowingly Being the first sources, the first source of the idea. This
the street on which the Arts Novissima should set out and proceed.
would indeed great pride in an age like ours, of narrow scientific positivism and skepticism began idealistic, to bring the spirit! In view of the eternal problems, by virtue of an art of communication, of which the unlearned and profane attempt in their intellectual and moral poverty, Minar forever bases.
purify, therefore, to spiritualize the Cinema!
Of course, the dream is too good and too high to have undergone a practical implementation, but,
very reason, the goal, slowly and laboriously acquired, there will be lavish the greatest satisfaction.
Again, it is daring, and, in many respects, I would say almost impossible, but, after all, if you do not reach the very top for your purpose, you will not, however, little joy to have, perhaps unsuccessfully, attempted a great and pure ideal.
Nitimur in vetitum sernper cupimusque denied
Ovid's warning could not be more appropriate.
I know, moreover, that the tastes and aspirations of almost all of the public are certainly not perfect eurythmy with what I expressed above, and may well be that the elevation of the Cinema, along the lines of thought, not but a dream, and like all dreams, "unnecessarily sublime."
Non sarà tuttavia inutile o indecoroso aver tentato la strada.
Gli elementi invero non mancano.
Emilio Ghione, ad esempio, tralasciando talune sue speciali interpretazioni di dubbio buon gusto, potrebbe in poco tempo, con !a sua anima e !a sua arte, dettare ia parola nuova e rivelatrice nei teatro dell'Ombra.
Se n'avvantaggerebbe !a sua fama, pur già cosi luminosa; e, sopratutto, la bellezza e la poesia della scena muta.
Speriamo, dunque; e attendiamo la prova. »
R. C. La Spezia, 10 maggio 1917