Male Body Waxing Ann Arbor

La cineteca di Guido Guerrasio e G. Luigi Mele

But what happened to these movies? (And surely many others)

Milan, March 1947
was held recently at the Culture House, a. retrospective exhibition of exceptional interest, whose program included films made between 1896 and 1911. For the first time in history no longer short of a retrospective Italian public of amateurs could see on the screen, projected from. a machine the original one, that Guido Guerrasio personally made it work by hand in a crowd is not decomposed in the large room that looked more impossible angle to see the movies of Georges Méliès, Louis Feuillade, Romeo Bosetti, the very first Max Linder. Méliès, the man who knew the movies, for the first, giving the spirit of absolute fantasy, were shown "The serpentine dance ',' metempsychosis 'and' The Fairy Spring." The first is a kind of exorcism, for which some braziers ballerinas out in droves, and after a dance choreography follows the extraordinary effect their transformation into flames, also dancing on the floor. The second, which perhaps is a direct transposition of one of those extraordinary events of transformation that the Méliès held at the end of the last century in the theater of Robert Houdin Paris, is already almost a true story. On a fund-style floral is a statue, placed by a woman on a pedestal the bust comes alive, turns into a large wreath of flowers, the flowers become dancers, until a new fader brings up a large purple leaves from which the head of a woman with a wig. After a digression of details, in which dancers take various wings of a dragonfly, with draperies astronomical signs, you arrive at the decisive point of the 'metempsychosis' is formed by a large rose petals which leaves a child. Enter the woman takes the baby and take it with them then appears, a large cabbage, a cabbage to make perfect as the movement that brings out those wrinkled leaves a little boy crying. Step onto the pitch with the same woman, picks up the child, spoil them and puppet shows to the public happy, smiles, bows and disappears. Less naive and more "poetic", the story of the Spring Fairy in a winter scenery, where the snow falls on the stage of cardboard painted with nothing seems wrong, the fairy enters the home of two married older people in the form of old beggar. It is accepted in a spirit of charity, give it to refresh, the bridge of care. The fairy comes out in the garden of the couple, a few touches, and instead of snow is a rain of flowers, even the old woman has become a beauty. Without a bunch of flowers falling from the sky, the fairy gives it to spouses, surprised and moved. The fairy disappears, the bouquet turns into a child premium kind hospitality of the couple and consolation to their sadness. The historical importance d! these films is obvious, and the teaching of their language may go beyond the simple way, if one considers the fact that this kind of cinema has had (about Walt Disney for example) and still may have an address on fantasy and unreal.

The first film comedians of a certain size and length (100 meters maximum) have not been less appreciated. Reappeared without spot the old Adventures of Rosalie (the interpreter of many fat little film of that period) and Little Moritz: very nice and "Little Moritz kidnapped Rosalie, carried out in 11 by Romeo Bosetti in France: here the assembly of the actions already has a solid character and full of adventure, and you find them, and many still all fresh, new and even unimaginable to most of the audience, the film reveals an inexhaustible source of that time, a popular touch entertainment that today can be said definitively disappeared, and, at most, so amended as not to recognize almost nothing of the original strand. Louis Feuillade was present in the program with one of those films that served as preparation for the rear 'Fantomas' interpreter is the child prodigy Baby Abelard, and adventure, which is between the comedian and crime, is entitled "Baby has cold blood. " Pure fun for a movie Babylas typical hero adventure paradoxical. The legacy of one, panther, which is a dog rigged with the tail and painted the door as a result of incidents following hilarious.


The evening ended with the first screening of the film Max Limder, La première sortie of a Collegien "(The first cigar), made in 1905 and for which the French comedian felt a profit of twenty francs. The public has accepted the projection with a strong applause, forgetting that it had to follow the performance in difficult conditions: the table on which was placed machine-ila relic could be seen sneaking spectators who had followed the projection lying on the ground, while at least two hundred people had give up to get into the room. The recall of the event, exceeding all expectations, managed to overwhelm any organization, in the end, consoling a test, why is the proof that the interest in cinema retrospective ii increases day by day. The reporter


From the descriptions, two films (see photo) are of Méliès, but Segundo de Chomón. Anyway: what happened to the film library of this film?

Baby Shower Verse Book Instead Of Card

Dante nella vita e nei tempi suoi 1923

Cinema Ambrosio, Torino. A movie about Dante and his life was as a serious problem, because it was easy to fall into the grotesque or fail in the artistic dignity that although it was not only necessary, but necessary and indispensable.
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.