{"id":8246,"date":"2017-07-03T12:26:58","date_gmt":"2017-07-03T10:26:58","guid":{"rendered":"http:\/\/www.giornatedelcinemamuto.it\/?page_id=8246"},"modified":"2020-08-22T10:15:01","modified_gmt":"2020-08-22T08:15:01","slug":"le-giornate","status":"publish","type":"page","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/le-giornate\/","title":{"rendered":"PORDENONE SILENT"},"content":{"rendered":"

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Though it was not to acquire its definitive name and identity until the following year,\u00a0the Giornate del Cinema Muto can date its first edition to 9 to 11 September 1982, when Cinemazero presented the Cineteca del Friuli\u2019s collection of the films of Max Linder, in the theatre of the Centro Studi di Pordenone. With the title “Le roi du rire: the origins of comic cinema”, it might have\u00a0come and gone\u00a0as a one-off event. But among the less than ten guests from outside the region, there was the dean of Italian film historians, Davide Turconi.\u00a0 As we sat all together at table, he said, as if it were the most natural thing in the world, \u201cFine. Next year we will do Mack Sennett.\u201d And we, quite naturally, concurred.
\nDavide Turconi (born 1911) was director of the Giornate until 1989, and remained a member of the festival board until 1998. From 1999 until his death in 2005 he was Honorary President of the festival. Starting with the 1997 edition the festival was directed for 19 years with incredible energy and passion by the noted English cinema critic and historian David Robinson (born 1930). In 2016 Variety critic Jay Weissberg (born 1965) became director of the festival, with David Robinson as Director Emeritus, thus ensuring the festival\u2019s longstanding tradition of personal continuity; they enjoy a mutual rapport of esteem and friendship.<\/span><\/span><\/p>\n

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The world\u2019s leading international silent-film festival, Le Giornate del Cinema Muto, presented annually in northern Italy, is still going strong after more than a quarter century. The 26th edition of the festival in October 2007 marked a significant milestone: this was the year the festival returned to its original home in the city of Pordenone. Because of the demolition of the Cinema Verdi, the Pordenone theater that had originally housed the screenings, and delays in construction of a new theater to take its place, the festival had temporarily relocated to nearby Sacile for the previous eight years. But in 2007, with the erection of a new Verdi on the site of the old and the resolution of lingering structural issues, the Giornate returned to Pordenone. It was a triumphant homecoming. \u2013 J.B. Kaufman<\/em>\u00a0(Classic Images,<\/em>\u00a0no. 392, Feb. 2008)<\/span><\/p>\n

Of all the intertitles appearing on screen during the 26th edtion of le Giornate del Cinema Muto, none raised a more knowing laugh than the warning in\u00a0<\/em>The Golden Road to Health and Beauty,\u00a0the English version of a German physical-culture film from the mid-1920s: “Constant sitting is very bad for the body.” Just so \u2013 especially for a festival that keeps you glued to your seat before celluloid from 9am to past midnight.
\nBack in its original base of Pordenone in the impractical new Teatro Communale (half ocean liner, half Moby Dick), Italy’s prestigious showcase for silent cinema did a fair amount to make the pains bearable. \u2013\u00a0Geoff Brown<\/em>\u00a0(Sight & Sound,\u00a0Dec. 2007)<\/em><\/span><\/p>\n

Le Giornate del muto sono rientrate a casa. Una casa tirata a lucido: il Teatro Verdi nuovissimo, che occupa, con la bianca imponenza d\u2019un iceberg di fantasia (e con in sala qualche gradino di troppo) lo spazio del vecchio, dove le Giornate erano cresciute e diventate \u201cil pi\u00f9 bel festival del mondo\u201d come dicono gli studiosi e gli addetti ai lavori che vengono dall\u2019estero. E che anche stavolta \u2013 dal 6 al 13 ottobre \u2013 erano i pi\u00f9 a festeggiare la rentr\u00e9e pordenonese, non senza qualche rimpianto, tuttavia, per la parentesi degli otto anni della trasferta nella vicina, riposante Sacile. \u2013 Piero Pruzzo (Film D.O.C<\/em>., n. 75, nov.-dic. 2007)<\/span><\/p>\n

Ormai unanimente considerato secondo festival italiano (secondo Mueller), o terzo (versione Veltroni) o comunque\u00a0 quarto (Barbera), possiamo \u2013 tranciando di netto \u2013 metterlo addirittura al primo posto per la coerenza e l\u2019articolazione internazionale del progetto. L\u2019edizione appena conclusasi ha ampiamente confermato la qualit\u00e0 dell\u2019offerta, anche se il ritorno nella pi\u00f9 comoda e natia Pordenone ha lasciato molta nostalgia per il miracolo degli anni di Sacile, quando tutta una citt\u00e0 ha coccolato con grande senso dell\u2019ospitalit\u00e0 una manifestazione di specialisti, accogliendoli in un ambiente affascinante. Pordenone dovrebbe conquistarsi il ruolo di ritrovata sede, non considerarlo un atto dovuto: e invece molte cose, dall’anonimato inestetico della sala di proiezione all’impoverimento dei momenti conviviali (che richiedono sponsor generosi), hanno solo accentuato la nostalgia. \u2013 Sergio Grmek Germani\u00a0(Il Manifesto,\u00a0<\/em>16.10.2007)<\/span><\/p>\n

Tired of movies looking like videogames rather than celluloid projections of men and women? Come to the Pordenone Silent Film Fest in northern Italy, now in its 26th year. The gold standard for silent film presentation, complemented by the world’s finest musical accompanists, Pordenone is the autumn destination for programmers, academics and enthusiasts from around the globe. – Variety Staff (“50 Unmissable Film Festivals”,\u00a0<\/em>Variety.com,\u00a07 Sept. 2007)<\/em><\/span><\/p>\n

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