{"id":25934,"date":"2025-10-10T06:55:00","date_gmt":"2025-10-10T04:55:00","guid":{"rendered":"https:\/\/www.giornatedelcinemamuto.it\/?p=25934"},"modified":"2025-10-12T12:35:26","modified_gmt":"2025-10-12T10:35:26","slug":"torna-a-risplendere-la-stella-di-dorothy-mackaill","status":"publish","type":"post","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/torna-a-risplendere-la-stella-di-dorothy-mackaill\/","title":{"rendered":"DOROTHY MACKAILL\u2019 STAR SHINES AGAIN"},"content":{"rendered":"<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>APPEARING WITH GEORGE O&#8217;BRIEN IN <em>THE MAN WHO CAME BACK <\/em><\/strong><strong>A GREAT REDISCOVERED MELODRAMA<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>THE 2025 JEAN MITRY AWARD\u00a0<\/strong><strong>GOES TO <\/strong><strong>ANDREA CUARTEROLO &amp; GEORGINA TORELLO\u00a0<\/strong><strong>AND TO PAULA F\u00c9LIX-DIDIER<\/strong><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: helvetica, arial, sans-serif;\"><strong>The programme for Friday 10 October 2025 at Pordenone\u2019s Teatro Verdi<\/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;\">The programme for <u>Friday 10 October<\/u> is a perfect compendium of the best of the Giornate. Even in a week with so many major titles, we can state that on no day is it worth spending the whole day sitting in the dark as much as it is on Friday, from <strong>Victor Sj\u00f6str\u00f6m<\/strong>\u2019s first film, scheduled in the morning, to the magnificent restoration <u>at 9\u00a0p.m. at the Teatro Verdi<\/u>, of <strong><em>The <\/em><\/strong><strong><em>Man Who Came Back<\/em><\/strong>, starring <strong>Dorothy Mackaill<\/strong>, whose intense closeup is the official image of this 44th edition of the Festival.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">It\u2019s strange how some great films of the silent era have fallen into oblivion, as did this one that was released with great success in 1924. Its popularity was the fruit of expert directing by <strong>Emmett Flynn<\/strong>, <strong>Edmund Goulding\u2019s<\/strong> screenplay that recounts the fall and rise of a couple with sincere emotion, and the superb photography of <strong>Lucien Andriot<\/strong>. But, above all, it depends on the exceptional performances of <strong>Dorothy Mackaill<\/strong> and <strong>George O\u2019Brien<\/strong>, the latter best known for his role in Murnau\u2019s <em>Sunrise<\/em> and in many of John Ford\u2019s films.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">Before the screening of <em>The Man Who Came Back<\/em>, there will be one of the most highly anticipated moments of every edition of the Giornate: the <strong>Jean Mitry Award<\/strong> ceremony. The award is given to individuals and institutions that stand out for their commitment to the preservation and promotion of silent film heritage. Bruno Malattia, president of Fondazione Friuli, which supports the award, will present it this year to <strong>Andrea Cuarterolo <\/strong>with<strong> Georgina Torello<\/strong>, who since 2015 have been editing the journal <strong><em>Vivomatografias<\/em><\/strong>, dedicated to the study of pre-cinema and early cinema in Latin America, and to archivist and film historian <strong>Paula F\u00e9lix-Didier<\/strong>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">The day begins <u>at 9\u00a0a.m.<\/u> with four fragments and the first film by <strong>Victor Sj\u00f6str\u00f6m<\/strong>: 1912\u2019s <strong><em>The Gardener<\/em><\/strong> in which he also stars. Of the 42 films he directed in Sweden before moving to Hollywood, 23 are now considered lost and the four fragments being shown today survived only because they were reused in other productions. Swedish censors banned <em>The Gardener<\/em> (screenplay by <strong>Mauritz Stiller<\/strong>, the other big name of early Swedish cinema, and the man who discovered Greta Garbo) for being contrary to morality, so it was never distributed in that country. Fortunately, a copy of it was sold in the United States, and we can watch the restoration presented here today thanks to collaboration between the American archives and the Svenska Filminstitutet in Stockholm.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\"><u>At 9.45\u00a0a.m.<\/u>, the retrospective dedicated to <strong>Italia Almirante Manzini<\/strong> features <strong><em>La piccola parrocchia<\/em><\/strong> (1923) by <strong>Mario Almirante<\/strong>, based on the novel by Alphonse Daudet, the author of \u201cLes aventures prodigieuses de Tartarin de Tarascon\u201d. Critics lauded the actress\u2019s performance, praising \u201cthe elegance in her gestures, her control of the scene, a very special charm that emanates from her intense and penetrating gaze\u201d.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">In 2025, the Festival has dedicated significant space to director <strong>Augusto Genina<\/strong>. We opened the Festival with his <em>Cyrano de Bergerac<\/em>, and we return to his work on <u>Friday 10 October at 11.30\u00a0a.m.<\/u> with the screening of <strong><em>Il siluramento dell\u2019Oceania<\/em><\/strong> (1917) that recounts the torpedoing of a transatlantic ship by a German submarine. Remember that the Great War was still raging at the time of the film\u2019s release, and audiences still clearly remembered the tragedy of the RMS Lusitania, where 1,200 people lost their lives in a German attack on 7 May 1915. Masterfully orchestrating crowds of extras, with audacious points of view and optical tricks, Genina constructs a truly impressive sinking sequence, many decades before James Cameron\u2019s <em>Titanic<\/em>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">Screenings begin again <u>at 2\u00a0p.m.<\/u> with <strong>Chaplin imitators<\/strong>, the American <strong>Billy West<\/strong> and Swiss actor <strong>Edmond Barenco<\/strong>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">In Europe, the 1920s were the years of the artistic avantgarde, also seen extensively in cinema. Belgium\u2019s <strong>Henri Storck<\/strong> and <strong>Charles Dekeukele<\/strong> were the fathers of experimental documentaries, while <strong>Henri d\u2019Ursel<\/strong>, eighth Duke of the ancient Ursel family, authored an interesting surrealist experiment, <strong><em>La Perle<\/em><\/strong> of 1929, which has been restored by Cinematek \/ Cin\u00e9math\u00e8que royale de Belgique. Even the greatest surrealist painter <strong>Ren\u00e9 Magritte<\/strong> had a passion for cinema and uses his home movies in <strong><em>Dialogue avec des objets<\/em><\/strong> (1956-1957) to construct a farcical game in the manner of silent film (<u>2.30 at Teatro Verdi<\/u>).<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">Even in Russia, after the Revolution, the winds of the avantgarde blew and 1926\u2019s <strong><em>Wings of a Serf<\/em><\/strong> (<u>at 3.30<\/u>) represents an interesting attempt to merge ideology and formalism. This tragic story of a peasant dreamer who clashes with obtuse and violent authorities, is a clear allegory of an experimental filmmaker\u2019s fight to protect his own creative freedom against State interference. <strong><em>Wings of a Serf<\/em><\/strong> is the fruit of an exceptional team: from director <strong>Yuri Tarich<\/strong>, who created a formidable portrait of Ivan the Terrible (Ejzenstejn certainly must have had it in mind when making his 1941 film), to screenwriter <strong>Viktor Shklovsky<\/strong>, one of the most influential Soviet intellectuals who survived the entire post-Revolution period without being crushed by either faction in power.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">We change registers <u>at 5.30<\/u> with the one-hour programme dedicated to animation genius <strong>Max Fleischer<\/strong>, father of Betty Boop and co-founder with his brother Dave of Fleischer Studios, Walt Disney\u2019s most formidable competitor. The Giornate presents the other popular character created in 1923 by Fleischer, <strong>KoKo the Clown<\/strong>. On <u>Friday 10 October<\/u> seven shorts from the <em>Inkwell Imps<\/em> series will be screened. Max Fleischer\u2019s materials were collected and restored by his granddaughter <strong>Jane Fleischer Reid<\/strong> and her team. Jane is the daughter of Richard Fleischer who directed major Hollywood productions, and is a special guest at the 44th edition of the Giornate.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">And last, we should mention <strong>Edward Cline<\/strong>\u2019s short film <strong><em>East Lynne With Variations<\/em><\/strong> (1919) which precedes the screening of <em>The Man Who Came Back<\/em>. Only four minutes have survived of the original two reels of the hilarious parody of the melodrama <em>East Lynne<\/em>, which included a few stars of Mack Sennett\u2019s troupe: <strong>Ben Turpin<\/strong>, <strong>Heinie Conklin<\/strong> and <strong>Marie Prevost<\/strong>.<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\">The offering of the online festival for <u>Friday 10 October<\/u> is <strong><em>Die Dame mit der Maske<\/em><\/strong> (<em>The Lady with the Mask<\/em>, 1928) by <strong>Wilhelm Thiele<\/strong>, accompanied by <strong>G\u00fcnter Buchwald<\/strong>. Starting from <u>9 p.m., <\/u>the film will be available for 48 hours on: https:\/\/www.mymovies.it\/ondemand\/giornate-cinema-muto\/ .<\/span><\/p>\n<p><span style=\"font-family: helvetica, arial, sans-serif;\"><em>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":"<p>APPEARING WITH GEORGE O&#8217;BRIEN IN THE MAN WHO CAME BACK A GREAT REDISCOVERED MELODRAMA THE 2025 JEAN MITRY AWARD\u00a0GOES TO ANDREA CUARTEROLO &amp; GEORGINA TORELLO\u00a0AND TO PAULA F\u00c9LIX-DIDIER The programme for Friday 10 October 2025 at Pordenone\u2019s Teatro Verdi<\/p>\n","protected":false},"author":3,"featured_media":25935,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-25934","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 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>DOROTHY MACKAILL\u2019 STAR SHINES AGAIN | 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\/en\/torna-a-risplendere-la-stella-di-dorothy-mackaill\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:it]TORNA A RISPLENDERE LA STELLA DI DOROTHY 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