The print of this film, restored by C.N.C.- Les Archives du Film, is one of the rare example which survived from the delicate coloration obtained by stencil, created by Ambrosio in the 10s. “Infants prodigy, no, but beautiful children, good, gracious and well educated children. And I say well educated because my admiration goes to their unknown teacher. Those who know, as I do, how much patience and effort is necessary to instruct young minds, in which it is a blessing to even find any aptitude at all for acting, will understand that the few minutes of honest, moral and artistic pleasure offered by these children are the result of the maximum commitment of the person who knew how to teach them.
I saw the public leave the theatre melancholy and smiling. I saw some mothers dry their tears and give a special kiss to the child seated next to them, pointing at the screen on which the sweet vision had appeared and disappeared so rapidly.
Cuor di poeta is the first flower that arte nova offers to the French playwright. Modest flower with the delicate perfume of violet pinned onto the image of the poet, magnificently reproduced, with a gold pin. That is what Cuor di poeta is about.
(A.Berton, Il Maggese Cinematografico, Torino, n.4, 10.6.1913.)
Lyda Borelli
“Go and see the performances of Borelli. Your ears are still deafened by the praises of Borelli, by the critical acclaim of the elegant boldness of Borelli, for the great dramatic effectiveness of Borelli. For a strange twist of fate don’t fall into the trap that is unconsciously set for you. Be your own master. You can establish an observatory within yourself. Observe, remain stupefied, it seems incredible. Shrug your shoulders and remember that someone has substituted the affermation ‘in the beginning there was the word’ with ‘in the beginning there was sex’.
Let this be quite clear! Sex as a spiritual force, as purity, and not as a base animal manifestation. Well then, it is necessary to study the Borelli case as a case of sexuality. There is no other way to understand it, to explain it and also to set it free”.
(A. Gramsci, Letteratura e vita nazionale, 1917).