{"id":25061,"date":"2025-07-07T11:12:52","date_gmt":"2025-07-07T09:12:52","guid":{"rendered":"https:\/\/www.giornatedelcinemamuto.it\/?p=25061"},"modified":"2025-09-06T16:14:01","modified_gmt":"2025-09-06T14:14:01","slug":"le-giornate-del-cinema-muto-2025-44a-edizione","status":"publish","type":"post","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/le-giornate-del-cinema-muto-2025-44a-edizione\/","title":{"rendered":"44th PORDENONE SILENT FILM FESTIVAL"},"content":{"rendered":"<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>PREVIEW<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>OPENING NIGHT FEATURES THE WORLD PREMIERE OF THE NEW RESTORATION OF AUGUSTO GENINA\u2019S MAGNIFICENTLY COLORED <em>CY<\/em><\/strong><em><strong>RANO DE BERGERAC<\/strong><\/em><strong>, WITH AN ORCHESTRAL SCORE BY KURT KUENNE<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>CLOSING NIGHT SEES BUSTER KEATON\u2019S <\/strong><em><strong>OUR HOSPITALITY<\/strong><\/em><strong> WITH A SCORE FOR CHAMBER ORCHESTRA BY ANDREJ GORI\u010cAR<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>THE LARGEST OF THE RETROSPECTIVES IS DEDICATED TO THE CHAPLIN PHENOMENON AND \u201cCHAPLIN MANIA\u201d<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>At the Teatro Verdi of Pordenone from 4 to 11 October<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong><span style=\"font-family: helvetica, arial, sans-serif;\">Pre-opening on 3 October in Sacile, and a repetition of the final night on 12 October<\/span><\/strong><\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\"><!--more--><\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">Nearly <strong>200 titles<\/strong> including shorts and features from national and international film archives will be shown during the <strong>44th edition of the Pordenone Silent Film Festival \/ Le Giornate del Cinema Muto<\/strong>, taking place <strong>4-11 October at Pordenone&#8217;s Teatro Verdi<\/strong>. Comprised of thirteen sections, including special events, the festival is packed with screenings each day from early morning until late evening, all accompanied with live music by top specialist musicians. Now in his tenth year as director of the Giornate, <strong>Jay Weissberg<\/strong> declares that the high number of comedies in this year\u2019s program can be considered \u201ca kind of film therapy for international cinephiles gathered in Pordenone as well as those accessing the films online, in the belief that, despite what\u2019s happening in the world, through laughter we can find solidarity in our common humanity.\u201d<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">The 44th edition of the Pordenone Silent Film Festival officially kicks off with <strong>Augusto Genina<\/strong>\u2019s celebrated 1922 adaptation of <strong><em>Cyrano de Bergerac<\/em><\/strong>, a spectacular evocation of Edmond Rostand\u2019s beloved characters that <em>Il corriere cinematografico<\/em> called \u201ca film of perfect balance and perfect harmony.\u201d Genina\u2019s innovative use of a complicated color technique incorporating both tinting and a variety of stencil colors made it a touchstone of cinematic beauty, but only now thanks to a <strong>stunning restoration by FPA Classics of Paris<\/strong>, which will <strong>world premiere<\/strong> in Pordenone, can its full chromatic range be properly appreciated much as it was just over one hundred years ago. American composer <strong>Kurt Kuenne<\/strong> has revisited and revised his previous score for the film, which will also receive its premiere at the festival performed by the <strong>Orchestra da Camera di Pordenone<\/strong>, directed by <strong>Ben Palmer<\/strong>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>Buster Keaton<\/strong> will be featured twice, first in <strong><em>The Cameraman<\/em><\/strong> (1928), screening as the traditional pre-opening performance at the Teatro Zancanaro in Sacile, this year taking place on 3 October and accompanied by the <strong>Zerorchestra<\/strong>. The Great Stoneface returns for the festival\u2019s closing on Saturday 11 October (repeated Sunday, 12 October) with <strong>Our Hospitality<\/strong>, his second feature-length film, co-directed together with John G. Blystone and co-starring his wife. Even when released in 1923, critics realized that Keaton was doing something different, integrating comedy and pathos in a way that made the narrative an essential part of the humor rather than an excuse to put together a bunch of gags. Playing upon a 19th century legend about feuding families in rural Appalachia, Keaton turns every obstacle into a hilarious physical feat, culminating in a breathtaking race against nature itself. In this year in which Nova Gorica-Gorizia is European Capital of Culture, <em>Our Hosptality<\/em> will be presented with a score by Slovenian composer and musician <strong>Andrej Gori\u010dar<\/strong>, conducting the <strong>Orchestra of the Imaginary of Ljubljana<\/strong>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>This year\u2019s biggest series<\/strong> is entitled \u201c<strong>Six Degrees of Chaplin<\/strong>\u201d and is dedicated to <strong>Chaplin Mania<\/strong> in all its forms, encompassing not just the great man himself but his inspirations, the performers he influenced, imitators, cartoons and newsreels demonstrating his status as an unparalleled worldwide celebrity. The program is the brainchild of <strong>Steve Massa and Ulrich R\u00fcdel<\/strong>, who\u2019ve conceived of the series as a continuation of their exploration of the <strong>Origins of Slapstick<\/strong>, arguing for a more international perspective than has generally been accorded the theme.\u00a0 Through the lens of the Chaplin phenomena, they\u2019ve proven there\u2019s still more to say on this ever-rich subject, guided by the fundamental work of Chaplin\u2019s official biographer <strong>David Robinson<\/strong>, director of the Pordenone Silent Film Festival for 18 editions, from 1997 to 2015, and now director emeritus.\u00a0 To quote the curators, \u201cat long last we turn our inquisitive curiosity to Chaplin \u2013 not just as the focus, but also as yet another starting point and lens for our continued exploration of unexpected comic revelations, connections and indeed delights.\u201d<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">Thanks to global partnerships with archives in Europe and the U.S., together with a close collaboration with the Chaplin family\u2019s own archive, the Giornate will be presenting <strong>six programs with over 30 titles<\/strong> dedicated to the Chaplin phenomenon. Among the greatly-anticipated highlights: the <strong>world premiere<\/strong> of <strong>The Museum of Modern Art\u2019s new restoration<\/strong> of Chaplin\u2019s anti-war comedy <strong><em>Shoulder Arms<\/em><\/strong> (1918), paired with <strong>Harry Langdon<\/strong>\u2019s anti-war comedy <strong><em>Soldier Man<\/em><\/strong> (1926), but also films with such important colleagues as <strong>Mabel Normand, Marie Dressler and Jackie Coogan<\/strong>. In addition, the<strong> Chaplin Office<\/strong> has opened up their treasures, allowing us to screen rarely seen <strong>home movies<\/strong> and <strong>films made on-the-set<\/strong>, providing a glimpse into Chaplin\u2019s private life, his working methods, and his stratospheric popularity.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif; font-size: 10pt;\">Foto: Buster Keaton, Francis X. Bushman, Jr.<\/span><br \/>\n<span style=\"font-family: helvetica, arial, sans-serif; font-size: 10pt;\"><em>Our Hospitality<\/em> (US 1923) di John G. Blystone e Buster Keaton<\/span><br \/>\n<span style=\"font-family: helvetica, arial, sans-serif; font-size: 10pt;\">Il film \u00e8 uscito all\u2019epoca in Italia col titolo <em>Accidenti\u2026 che ospitalit\u00e0!<\/em><\/span><br \/>\n<span style=\"font-family: helvetica, arial, sans-serif; font-size: 10pt;\">Credit: Museum of Modern Art, NY<\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>PREVIEW OPENING NIGHT FEATURES THE WORLD PREMIERE OF THE NEW RESTORATION OF AUGUSTO GENINA\u2019S MAGNIFICENTLY COLORED CYRANO DE BERGERAC, WITH AN ORCHESTRAL SCORE BY KURT KUENNE CLOSING NIGHT SEES BUSTER KEATON\u2019S OUR HOSPITALITY WITH A SCORE FOR CHAMBER ORCHESTRA BY ANDREJ GORI\u010cAR THE LARGEST OF THE RETROSPECTIVES IS DEDICATED TO THE CHAPLIN PHENOMENON AND \u201cCHAPLIN [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":25062,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-25061","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - 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