SCAMPOLO

Augusto Genina

S.: Augusto Genina, liberamente tratto dalla commedia di Dario Niccodemi. Sc.: Augusto Genina. F.: Axel Graatkjaer, Vittore Armenise. Scgf.: Hans Sohnle, Orro Erdmann. M.: Hansheinrich Dransmann. In.: Carmen Boni (Scampolo), Lia Crithy (Andrée Bertini), Hans Junkermann (il conte Bertini), Max Schreck, Carl Goetz (il maestro), Karl Platen, Oreste Bilancia. P.: Nero Film AG, Berlino. 2413m. 35mm.

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

For a long time considered lost in the filmography of Augusto Genina, Scampolo reappeared thanks to the work of the C.N.C. – Les Archives du Film, that had conserved the original negative of the French version. The material was in excellent condition and had conserved intact the prodigious qualities of the photography from the end of the twenties. L’Immagine Ritrovata saw to the repair of the materials, their cleaning and regeneration, the printing of a lavander, the insertion of the titles translated into Italian with the same graphics as the French version, and the printing of a positive in black and white. “The seventh of the eight films that Augusto Genina dedicated to Carmen Boni, the boyish looking diva, Chaplin-like character similar in aspect to Louise Brooks who the director would direct in Prix de Beauté (proof of his artistic faithfulness to a certain kind of feminine lead). Film of German production, from the period when Genina went to Germany to survive the failure of the UCI and the ruin of the Italian companies. Maybe as a consequence, the film had some turistic intentions, since the leading titles begin: ‘This delightful comedy takes place in and around the magnificent city of Rome’. Piazza del Popolo, Trinità dei Monti, Castel S.Angelo, Via Nazionale, the palace of Count Bertini are the landmarks of this famous city that the photography captures with all its lights, prodigiously sensitive to all the variations in atmosphere.
In his control of staging, functional use of internal and external spaces, attention to scenography and capacity to reach a romantic climax (one of the clearest, most economical and successful endings in Italian silent cinema: the critics contested the fact that it was not faithful to the original comedy), Genina shows some similarities to his contemporary Frank Borzage”.
(Paola Cristalli, in Cinegrafie, n. 7)

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