Géza von Radványi

T. alt.: Le indesiderabili; Sog.: Géza von Radványi; Scen.: Liana Ferri, Géza von Radványi, Corrado Alvaro, René Barjavel, Geza Herczeg, Fausto Tozzi; F.: Gábor Pogáni; Mo.: René Le Hénaff; Scgf.: Mario Garbuglia, Dario Cecchi (non accred.); Mu.: Roman Vlad; Int.: Simone Simon (Yvonne la francese), Françoise Rosay (la “contessa”), Valentina Cortese (Anna Petrov, la jugoslava), Vivi Gioi (Greta), Irasema Dilián (Bianca, la polacca), Gino Cervi (Pietro), Mario Ferrari (il capitano), Umberto Spadaro, Carlo Sposito, Lamberto Maggiorani, Julia Toldy, Eva Breuer, Anna Maria Alegiani, Nyta Dover, Betsy von Furstenberg, Amedeo Trilli; Prod.: Giorgio Agliani, R. Solmsen, Géza von Radványi per Navona lm; Pri. pro.: 23 marzo 1950; 35mm. D.: 99’. Bn.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Rádvanyi wanted to make a film about refugee camps. From these camps, it is well known, come all the false witnesses who, six years after the end of the war, still fear their own country, because they fear their own past. They are left in these camps inactive, little by little corroded by the worst moral cankers, until they are of no use for Kravtchenko or Rousset. The war criminals are not even separated from the victims of propaganda. In these camps, no-one is re-educated, the victims of Nazi (or their successors’) propaganda rot alongside the criminals. Worse, the only reasonable solution for their ills – return to their own country – is taken away from them. It is sure that there is a film to be made in this material. The problem of these refugee camps, true breeding grounds of traitors, spies and human refuse, is a problem which reflects the situation of Western Europe. The director of such a film had to be certain of the legitimacy of what he was undertaking. For sure Geza Radványi was not, because he has not dared to look for the motives from which the refugee camps have become a disgrace, nor how this disgrace might be ended. These “women without name” sink in a pathos without interest. The director, insecure in his convictions, has lost all his artisanal ability, a curous but comprehensible phenomenon.
The artists who compose the cast, all stars of the first order – Simone Simon, Françoise Rosay, Vivi Gioi, Valentina Cortese – do what they wish. The result is variegated…

Roger Boussinot, Femmes sans nom: … Il y a du mou dans les celles, “L’Ecran français”, no. 285, 28 December 1950 – 3 January 1951

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