Richard Oswald

Sog.: dal romanzo omonimo di Harry Scheff (1913); Scen.: Richard Oswald; F.: Karl Freund, Karl Vass, Carl Drews, Frederik Fuglsang; Scgf.: Robert Neppach, Botho Höfer; Co.: Robert Neppach; Op.: Karl Freund; Ass. op.: Robert Baberske; Int.: Liane Haid (Lucrezia Borgia), Conrad Veidt (Cesare Borgia), Albert Bassermann (Rodrigo Borgia), Paul Wegener (Micheletto), Heinrich George (Sebastiano), Adolf Edgar Licho (Lodovico), Wilhelm Dieterle (Giovanni Sforza), Lothar Müthel (Giovanni Borgia), Alphons Fryland (Alfonso d’Aragona), Käte Waldeck-Oswald (Naomi), Alexander Granach, Anita Berber (contessa Giulia Orsini), Lyda Salmonova, Mary Douce (Florentina), Max Pohl, Adele Sandrock, Wilhelm Diegelmann (Wirt), Philipp Manning, Hugo Döblin, Clementine Plessner, Viktoria Strauß (Rosaura), Tibor Lubinszky (Gennaro Page); Prod.: Richard Oswald-Film AG, Berlin; Pri. pro.: 20 ottobre 1922 Berlino
35mm. L.:3284 m.
D.: 146′ a 18 f/s

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

Max Reinhardt’s influence did lead to many costume films being set in the Renaissance: Die Peste in Florenz [by Otto Rippert], one of the episodes of Der Müde Tod [by Fritz Lang], Lucrezia Borgia and Monna Vanna [by Richard Eichberg], for example. We sometimes find the recollection of a Reinhardt production leading second-rate directors to film a few effectively framed shots: in Richard Oswald’s Lucrezia Borgia, for example, a row of soldiers forming a thick hedge prickling with lances recalls a scene from Shakespeare’s Henry IV in Reinhardt’s production of 1912. There also soldiers deployed along the stage contrived to give the impression of an entire army. As in Reinhardt, a few tooled sets of armour and a flag drifting in the wind establish points of reference in the design. If these compositions seem to reflect one of Uccello’s famous battle-scenes, this is due to Reinhardt.
Lotte H. Eisner, The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, University of California Press, Berkeley and Los Angeles, 2008

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