The making of patriotic films was not rare among FAI productions, and Il bacio della gloria is one example, together with Armi e amori (1913) and Per la Patria! (1915).
«In the Speech from the Throne, which opened the 14th Legislature, the King of Italy stressed and underscored with his words the period recalling the story of the glorious conquering of Libya, sending warm greetings to the courageous men who fought, and to the heroes who fell, for the loftiness of their Country. In a response worthy of these august words, immediately thereafter Pathé released this patriotic film which tells one of the many stories of courage which bring glory to our flag. […] The photography is wonderful and diaphanous, almost stereoscopic with side lighting, harmoniously illustrating environments, panoramas and scenes which successfully reach the same level as the story, and which the art of cinema has blessed with the bright ray of a luminous screen.» («Rivista Pathé», 14/12/1913)

The film contains an interesting battle scene, noteworthy for the long series of shots and reverse shots between the two opposing armies. «The camera shows the two enemy camps. Among palm trees and sand dunes, the Arabs set out to attack our men, and, as the larger artillery has run out, the Italians engage their bayonets, responding quickly to the enemy. Never before, in films portraying actions from the Libyan campaign, have we had the chance to see the enemy camp and study their insidious strategies in the midst of the Turkish-Arabic ranks. This remarkable and exciting film, which simultaneously shows us the dual actions of the fighters, is truly a novelty.» («Rivista Pathé», 14/12/1913)

Il bacio della gloria met with ample consensus on the part of both audiences and critics, who noted the good acting and the beautiful photography, but who gave attention above all to the film’s ability to evoke «passionate feelings of love for our Country».

This print, which is missing several scenes, was restored from an original nitrate negative found at the Cinémathèque Française. The intertitles, missing from the negative, were reconstructed thanks to an original script of the film held at the Bibliothèque Nationale de France, Département des Arts du Spectacle, and translated into Italian.

Alessia Navantieri, Michele Canosa