La Moglie Di Claudio

Gero Zambuto

Supervisore alla regia: Giovanni Pastrone. Sog.: dal dramma La Femme de Claude (1873) di Alexandre Dumas figlio. Scen.: Dante Signorini. F.: Antonio Cufaro, Segundo de Chomón. Int.: Pina Menichelli (Cesarina Ruper), Vittorio Rossi-Pianelli (Claudio Ruper), Alberto Nepoti (Antonino), Arnaldo Arnaldi (Moncabré), Gabriel Moreau (Enea Cantagnac), Antonio Monti (Daniele), Gina Marangoni (Edmea). Prod.: Itala Film. 35mm. L.: 1437 m. D.: 70’ a 18 f/s. Desmetcolor.

info_outline
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

Cesarina Rupert, a modern day Messalina, is Claudio’s wife, a patriot and a brilliant inventor of war vehicles for France. Be­tween personal drama and spy intrigues, this mismatched couple is destined for a tragic end. Pina Menichelli demonstrates her impressive and expressive range in her role as Dumas’ dark heroine “the evil woman who undermines society, breaks up families, dismembers the mother country, challenges man, dishonors the woman she is impersonating, and destroys those who do not crush her”. The result is a perfor­mance that captures the excesses but also the hypnotic and erotic power of what Dalì defined as “hysterical cinema”. Even if lo­cal critics snubbed the film, not only be­cause of the excesses of the female lead but also the un-original storyline, it is re­markable to see advanced social and politi­cal themes of the times addressed, such as abortion and the aspirations of the Jewish people for a national state.

 

Copy From

Restored by Museo Nazionale del Cinema and Cineteca di Bologna at L’Immagine Ritrovata laboratory using a tinted and toned nitrate base with French intertitles from the Lobster Films Collection. The copy is a French re-release distributed by Vitagraph’s Parisian branch. The Italian intertitles were recovered thanks to the censor certificate and the lists of intertitles preserved by Museo Nazionale del Cinema. Some obvious editing errors have been corrected based on these documents, and missing frames have been replaced with black ones.