MISS DOROTHY

Giulio Antamoro

F.: Cesare Cavagna. Int.: Diana Karenne (Thea Nothingham / Dorothy Chester), Romano Calo (Giorgio / Ruggero Di Sangro), Lia Formia (Mara), Carmen Boni (Alma). Prod.: Nova Film. 35mm. L.: 1233 m (incompleto). D.: 60’ a 18 f/s. Bn.

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

Miss Dorothy was for decades the only Italian work by Diane Karenne known to exist and before the recent rediscovery of two more titles in the Gosfil’mofond, the only way to enjoy a taste of her multifaceted talent. It is a fascinating film about identities that are hidden, revealed, concealed and laid bare only at an enormous expense. A reviewer who was feeling complimentary finds her “a little fat”, and we dare not think what she looked like when she was thinner. We first see her as a governess, stiff as a board, wearing glasses and a black dress with a high neck that seems to choke her, her hair in a chignon and a ruler in her hand that is ready to strike. Rather sexy, despite what the intertitles would have us believe, if I may say so.
It’s only one of her lives: we’ll see her (in flashbacks) happy and young as a student and later in her complicated existence as an adult woman whom fate has deprived of too much. Her wide range of changing emotions spans small joys, anxiety, agony, thrills, melancholy and defiant glares, without ever becoming convoluted or relinquishing her chilly haughtiness, which both disturbs and attracts us.

Andrea Meneghelli

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