RESTO UMANO

Cast: Maddalena Céliat (Bianca Mario), Ettore Berti (dottor Mario), Guido Brignone (Massimiliano d’Altamura), Paola Monti. Prod.: Film d’Arte Italiana; 35mm. L.: 615 m. D.: 29’ a 16 f/s. Imbibita e colorata / Tinted and toned.

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

«A great success, the film Resto Umano is an interesting and sensational two-part drama by the Pathé Consortium, which contains one of the many scenes of seduction that unfortunately occur in our day in age.» («La Cine-Fono e la Rivista Fono-Cinematografica», 15/5/1913)


Who is the «human remains»? The film tells the story of an unsatisfied wife who reads Madame Bovary and abandons her conjugal home to follow an unreliable young man. The epilogue of the film shows her corpse about to undergo an autopsy. The doctor called to perform the autopsy is precisely her husband, unaware of his fate. Thus, is the corpse the «human remains» which gives the film its name? In reality, the plot centers on the doctor, Dr. Mario, and it is here that the true modernity of the film lies. The true «human remains» are not constituted by the corpse, but instead by the doctor who is hurt because his wife has abandoned him, and who is reduced to a poor madman.

Restoration of the film was carried out in 1996, from a positive dupe on safety stock, held by the Cinémathèque Française. In light of new information regarding the colors, the film can now be seen with the rich, original tinting and toning, thanks to Desmetcolor. 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 

Copy From

New edition 2002 in colour from L’Immagine Ritrovata