{"id":25844,"date":"2025-10-06T07:19:35","date_gmt":"2025-10-06T05:19:35","guid":{"rendered":"https:\/\/www.giornatedelcinemamuto.it\/?p=25844"},"modified":"2025-10-05T16:21:37","modified_gmt":"2025-10-05T14:21:37","slug":"italia-almirante-manzini-diva-dimenticata-a-cui-le-giornate-dedicano-una-retrospettiva-biennale","status":"publish","type":"post","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/italia-almirante-manzini-diva-dimenticata-a-cui-le-giornate-dedicano-una-retrospettiva-biennale\/","title":{"rendered":"A TWO-YEAR RETROSPECTIVE CELEBRATES THE FORGOTTEN DIVA ITALIA ALMIRANTE MANZINI"},"content":{"rendered":"

<\/span><\/p>\n

A hugely popular celebrity in the early 20th century, Italia Almirante Manzini<\/strong> is rarely remembered today. It seems all the more fitting, then, that Pordenone Silent Film<\/strong> should dedicate a retrospective to the actress, which will continue for next year\u2019s edition. Almirante Manzini\u2019s film career began in the 1910s and reached its culmination with her role as Sofonisba in Cabiria<\/em><\/strong>, the Italian hit loved by audiences worldwide. Before film, she had worked in theatre, the ideal place to develop and explore great character work. She was an actress first and diva second, although she certainly wasn\u2019t second to any of her contemporaries in terms of charm and allure. Alongside remarkable versatility in her many different film roles, Italia Almirante Manzini also showed excellent judgement in her choice of scripts and directors, working with the finest names of her time, including Roberto Roberti, Gennaro Righelli, Augusto Genina and Giovanni Pastrone<\/strong>, and of course her cousin Mario Almirante<\/strong>, who she worked with on many films. These include Zingari (Roma)<\/em><\/strong>, which will be screened on Monday, October 6 at 9 p.m. at Teatro Verdi<\/u>, with live musical accompaniment by G\u00fcnter Buchwald, Elizabeth-Jane Baldry<\/strong>, and Frank Bockius<\/strong>.<\/span><\/p>\n

Produced by Turin\u2019s Fert Studios, the film is a melodrama telling a tale of love between the daughter of a Roma king and the head of a rival clan. The king stands in the way of their love, together with another ambitious and violent suitor. The film was well received by domestic and international audiences. Critics noted the accuracy of the costumes, sets and cinematography of Ubaldo Arata, who later made film history working on Roma citt\u00e0 aperta (Rome, Open City)<\/em>. Naturally, the greatest praise went to the star: \u201cvibrant, sincere, feline when needed, Italia Almirante Manzini is the perfect Roma girl\u201d. Another wrote: \u201ccredit for the triumph of Zingari<\/em> is due to her, in particular, as she distances herself ever further from the \u2018art\u2019 (if one can call it that) of certain divas, and marvellously moves toward reality and life itself\u201d. In 1927, Italia Almirante Manzini left the world of cinema to dedicate her efforts to the theatre, reappearing just once in a sound film, L’ultimo dei Bergerac <\/em>[The Last of the Bergeracs], in 1934. Having moved to Brazil, she died of an illness in 1941, and not from a poisonous insect bite, as is often still written.<\/span><\/p>\n

Picking through other curiosities on the programme for Monday, 6th October<\/u>, we find the first and only Shakespearean adaptation by David W. Griffith (Biograph Studios): The Taming of the Shrew<\/em><\/strong> (1908) starring Florence Lawrence<\/strong>, \u201cThe Biograph Girl\u201d, in the lead role. Lawrence was the first ever actress to be included in film credits. Previously the actors\u2019 names would not appear, due to producers\u2019 fear that greater popularity may lead them to demand higher fees. Canadian-American, and a skilled equestrian, Florence Lawrence featured in more than 270 films over her relatively short career, 60 of these with D. W. Griffith.<\/span><\/p>\n

The 1911\u20131913 series by Louis Feuillade<\/strong>, \u201cLa Vie telle qu’elle est\u201d<\/em><\/strong> (Life as It Is) \u2014 <\/em>presented in the morning programme (10.00 a.m.<\/u>) with the four shorts Les Vip\u00e8res, Le Nain, Le Coeur et l\u2019argent, <\/em>and Erreur tragique<\/em>, as part of the Canon Revisited section \u2014 marks a shift in Gaumont\u2019s work from expensive historic dramas to intimate, modern films with fewer actors. Unfortunately, the project did not enjoy the success hoped for and Feuillade\u2019s transition to realism died in its infancy. Things went very differently for the series that follows, starring the character Fant\u00f4mas.<\/span><\/p>\n

Based on a powerful and violent novel by Norman Springer, described by Sir Arthur Conan Doyle as \u201cone of the best sea tales I\u2019ve read\u201d, The Blood Ship<\/em><\/strong> (1927) was directed by George B. Seitz<\/strong>, who specialised in adventure films. Starring Hobart Bosworth<\/strong>, a pioneer of silent film, it proved a great success for Columbia Pictures and was celebrated by critics. A further point of interest for today\u2019s audience is the appearance, in the role of \u201cThe Negro\u201d, of Edgar \u201cBlue\u201d Washington<\/strong>, an African American baseball champion and Hollywood actor since the 1910s. In a period marked by systemic racism, credit must be given to screenwriter Fred Myton for giving Washington a different role from that in the novel, where he was portrayed with the most derogatory racial slurs (the term \u201cnegro\u201d was not considered offensive at the time of the film\u2019s release). In the screen adaptation, he is a solid companion, capable of heroic acts and humour, and the character gives the actor an opportunity to show off his expressive talent. Other actors include Richard Arlen<\/strong>, who went on to a long career in the era of sound, and Jacqueline Logan<\/strong>.<\/span><\/p>\n

The Blood Ship<\/em> will close Monday morning\u2019s programme at Teatro Verdi, following on from Father Was a Loafer<\/em><\/strong> (1915), at 11.30 a.m.<\/u>, providing another taste of Chaplin-mania<\/strong> curated by Steve Massa and Ulich R\u00fcdel. This short introduces Chaplin\u2019s no-good double, Billie Ritchie<\/strong>, dressed in a very similar way to the Little Tramp, including his bamboo cane, but parading stiff and cocky gestures entirely lacking the delicate touch of Chaplin\u2019s character. Ritchie represented the negative counterpart of the Little Tramp for three years, from 1914 to 1917, the years of his partnership with Henry Lehrman and the L-KO Motion Picture Company. Previously Mack Sennett\u2019s right-hand man, Lehrman was Chaplin\u2019s first director, but the relationship was strained and didn\u2019t last long. Lehrman later took credit for the character of the Little Tramp, claiming to have taught Chaplin how to act for the camera.<\/span><\/p>\n

In the day\u2019s second appointment with the world of Chaplin, at 2.30 p.m.<\/u>, six comic shorts will explore personalities that had a major influence on him, with plenty of laughs along the way. These include Max Linder<\/strong>, of course, but also less obvious figures such as music-hall performers Sam Poluski <\/strong>and Billie Reeves<\/strong>, the latter a former star of Karno, where Chaplin himself trained.<\/span><\/p>\n

The online programme continues on Monday 6 October<\/u> with Maurice Tourneur<\/strong>‘s The White Heather<\/em><\/strong> (1919), in a new restoration by San Francisco Film Preserve. The plot (a bankrupt man’s attempt to repudiate his wife in order to marry a rich woman) culminates in a spectacular underwater scene. The film is accompanied on the piano by Stephen Horne<\/strong>. The screening will begin at 9 p.m. and will be available for 48 hours on: https:\/\/www.mymovies.it\/ondemand\/giornate-cinema-muto\/<\/span><\/p>\n

The Pordenone Silent Film Festival \/ Le Giornate del Cinema Muto is made possible thanks to the support of the Regione Autonoma Friuli Venezia Giulia, the Ministry of Culture \u2013 Direzione Generale Cinema, the city of Pordenone, the Pordenone-Udine Chamber of Commerce, the Fondazione Friuli and with the participation of BCC Pordenonese e Monsile.<\/em><\/span><\/p>","protected":false},"excerpt":{"rendered":"A hugely popular celebrity in the early 20th century, Italia Almirante Manzini is rarely remembered today. It seems all the more fitting, then, that Pordenone Silent Film should dedicate a retrospective to the actress, which will continue for next year\u2019s edition. Almirante Manzini\u2019s film career began in the 1910s and reached its culmination with her [...]","protected":false},"author":3,"featured_media":25845,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-25844","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nA TWO-YEAR RETROSPECTIVE CELEBRATES THE FORGOTTEN DIVA ITALIA ALMIRANTE MANZINI | Le Giornate del Cinema Muto<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.giornatedelcinemamuto.it\/italia-almirante-manzini-diva-dimenticata-a-cui-le-giornate-dedicano-una-retrospettiva-biennale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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