ricbigi

Mario Costa's PAGLIACCI (1948) is a very satisfying, inspired film adaptation of Ruggero Leoncavallo's popular opera (1892) of the same title. Taking the action outdoors in the beautiful Italian countryside, Costa adds lots of local color to an already exuberant setting by having the townspeople dress in typical Calabrian costumes, thus intensifying the authenticity of the opera's historical locale. To my mind, given the technical difficulties of filming in post-war Italy, this film is a miracle of perfection. Mario Bava's cinematography is breathtaking, making expert use of light and shadow with great sensibility. The sound in the DVD currently available is the best one can have, although I believe that, with adequate means, both image and sound could be rendered even more pristine. My greatest enjoyment, however, derives from the actors: Tito Gobbi (Tonio, Silvio), Afro Poli (Canio) and Gina Lollobrigida (Nedda). Gobbi is wonderful in his dual role. Both Poli and Lollobrigida fill the screen with just the right charge of magnetism. Lollobrigida's Nedda is indeed a grateful surprise, given the fact that the actress was totally inexperienced then. In her second speaking part, Lollobrigida already shows all the qualities that would make her a national and international star in just a few years.

I love Frank Borzage's films (STREET ANGEL, 7TH HEAVEN, A FAREWELL TO ARMS, DESIRE, THREE COMRADES, THE MORTAL STORM being my favorites). Borzage was a director of immense talent and sensibility, a true master in every sense. I'VE ALWAYS LOVED YOU is his most lavishly produced film, in glorious Technicolor, and contains extremely beautiful sequences, but unfortunately falls short of being a great work. Borden Chase, the screenwriter, must be responsible for this, as he presents the character of the great Maestro Goronoff as not only arrogant, which could be easily understood, but also immature and frankly ridiculous in his womanizing, thus rendering him a type of buffoon most of the time. One can never understand the love that Myra Hassman feels for him, in spite of Catherine McLeod's fine performance. Thus, when the story reaches its first climax and Goronoff tries to steal the brilliance of his pupil first public concert (in Carnegie Hall, of all places) out of sheer jealousy, the impact of the scene is lessened. We never see the somber shades of his personality creeping in. The effect is incongruous. We cannot take this man seriously. Philip Dorn does not help, either. His acting is unnatural, a pure caricature that does not let a possible tragic dimension of his character shine through. Too bad. The ending is satisfying, at least, and we are left with the lovely image of Catherine McLeod in our memory. She was indeed a good actress and deserved to have had a more successful career.

I have only seen three Ruth Chatterton films: DODSWORTH, FEMALE and MADAM X. I had never heard of Ruth Chatterton before I saw DODSWORTH and had no expectations regarding her as an actress. After seeing DODSWORTH, Ruth Chatterton's elegant persona entered my life forever. FEMALE, seen a couple of years later, was pure delight. What a find! A younger Ruth Chatterton, equally glamorous and equally brilliant, this time delivering a light, witty, winning performance. When I got to MADAM X, I was already a great fan of this divine actress. How can one describe the effect of her acting on one's feelings? I confess I was spellbound from the start. Chatterton's seamless technique renders her emotional outbursts painful to watch, yet we cannot move or breathe and just stand in awe, witnessing an exposure of emotion that is so raw and so true. I have read reviews that criticize Ruth Chatterton for the very qualities that I find attractive and unique in her acting. That only shows that taste is indeed a very subjective thing. MADAM X is an early talkie, static, old-fashioned, a shameless melodrama. I loved it!