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IL CINEMA RITROVATO 1997 Undicesima Edizione / Eleventh Edition Sabato 28 Giugno - Sabato 5 Luglio Saturday June 28 - Saturday July 5

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IL CINEMA RITROVATO 1997 Undicesima Edizione / Eleventh Edition Sabato 28 Giugno - Sabato 5 Luglio Saturday June 28 - Saturday July 5 XXVI Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 1997 undicesima edizione / Eleventh edition sabato 28 giugno - sabato 5 luglio Saturday June 28 - Saturday July 5 curato da / edited by Cineteca del Comune di Bologna e Nederlands Filmmuseum Assessorato alla Cultura e Commissione Cinema del Comune di Bologna, Istituto per i Beni Culturali con il patrocinio della Regione Emilia-Romagna con il contributo della Presidenza del Consiglio dei Ministri con il sostegno della Commissione delle Comunità Europee - Direction Générale X - Politique Audiovisuelle Con la collaborazione di: Orchestra Regionale Arturo Toscanini Ente Autonomo Teatro Comunale di Bologna Dipartimento di Musica e Spettacolo dell'Università di Bologna Associazione Nazionale Esercenti Cinematografici ATC Azienda Trasporti Consorziali Con la sponsorizzazione / sponsored by: Haghefilm (Amsterdam) L'Immagine Ritrovata (Bologna) Soho Images (London) giovedì / thursday 26 Cinema Lumière A NUOVA LUCE: IL CINEMA MUTO ITALIANO workshop internazionale / International workshop dal pomeriggio di giovedì 26 - al pomeriggio di domenica 29 giugno from the afternoon of Thursday 26th to the afternoon of Sunday 29th June Cinema Lumière - Cinema Fulgor Dipartimento di Musica e Spettacolo dell'Università di Bologna Cineteca del Comune di Bologna Nederlands Filmmuseum Centro di promozione teatrale "La Soffitta" Unione Italiana Circoli del Cinema Mostra Internazionale del Cinema Libero ore 15.00 Introduzione ai lavori / Introducing the Workshop Vittorio Boarini (Cineteca del Comune di Bologna) e Antonio Costa (Università di Bologna) ore 15.45 Conservare i film muti italiani / Preserving the Italian silents intervento di Gian Luca Farinelli (Cineteca di Bologna) proiezione di: frammenti, film senza didascalie, opere da restaurare / projection of fragments, films without intertitles, film to be restored ore 17.00 La storia delle imprese di produzione del cinema muto italiano. Problemi e prospettive / History of Italian production companies in the Silent Era. Intervento di Aldo Bernardini (storico, direttore scientifico dell'Archivio informatico del cinema italiano - Anica, Roma) ore 18.00 Comico / Burlesque: Polidor introduzione di Giacomo Manzoli (Università di Bologna) e Roy Menarini (Università di Bologna). Proiezione di: PINOCCHIO (Italia, 1911) R.: Gant (Giulio Antamoro). S.: liberamente ispirato al romanzo omonimo di Carlo Collodi. In.: Ferdinand Guillaume (Pinocchio), Augusto Mastripietri (Geppetto), Lea Giunchi, Natalino Guillaume (Lucignolo). P.: Cines, Roma (film n.672). D.: 70' a 16 f/s. Didascalie italiane / Italian intertitles Da: Centro Sperimentale di Cinematografia - Cineteca Nazionale e Fondazione Cineteca Italiana, Milano POLIDOR CAMBIA SESSO (Italia, 1912) P.: Pasquali e C. 35mm. Did. fr. L.: 168 m. D.: 9' POLIDOR E L'ELEFANTE (Italia, 1913) P.: Pasquali e C. 35mm. Did. fr. L.: 81 m. D.: 4' POLIDOR UOMO STATUA (Italia, 1912) P.: Pasquali e C. 35mm. Did. fr. L.: 86 m. D.: 4' Da: Cineteca del Comune di Bologna Accompagnamento musicale di Stefano Maccagno (pianoforte) / Musical accompaniment by Stefano Maccagno (piano) venerdì / friday 27 Cinema Lumière A NUOVA LUCE: IL CINEMA MUTO ITALIANO workshop internazionale / International workshop ore 9.30 Il Serial introduzione di Monica Dall'Asta (Università di Bologna) proiezione dei finali del secondo e dell'ottavo episodio de: I TOPI GRIGI (Italia, 1918) R.: Emilio Ghione. P.: Tiber-film, Roma. 35mm. Didascalie italiane. L. complessiva: 5868m. Restaurato da Cineteca del Comune di Bologna, Fondazione Cineteca Italiana, Milano e Cinémathèque Royale Belge con il contributo del Projecto Lumière. Un'invasione di topi a Bologna. Per tutte le vie, sui muri di tutte le case è un continuo vedere topi grigi che attirano l'attenzione e l'occhio del pubblico. Non è però il caso di allarmarsi perché "Zà la mort" ha trovato modo di renderli assolutamente innocui e inoffensivi. Basta andare al Modernissimo per sincerarsi dell'artistica e magnifica battaglia che ha con loro ingaggiato Emilio Ghione. («L'Avvenire d'Italia», 25. 6. 1919) Rats are invading Bologna In every street, on the walls of every house grey rats call for the public's attention and draw their stare. There is nothing to worry about because "Zà la mort" has found a way to make them totally harmless. Just go to the Cinema Modernissimo to see for yourselves the magnificent and artistic battle that Emilio Ghione has engaged with them. (L'Avvenire d'Italia, 25th June 1919) ore 11.00 Italiani all'estero / Italians abroad introduzione di Vittorio Martinelli (Storico) proiezione di DER BASTARD (Germania, 1926) R.: Gennaro Righelli. Ass. reg.: Mario Almirante. S.: dalla novella Transatlantic di Urville. Sc.: Leo Birinski. F.: Arpad Viragh, Ubaldo Arata, Eduard von Borsody. Scgf.: Jack Rotmil, Gustav Knauer. In.: Maria Jacobini (Maria), Erich Kaiser-Titz (Sergio), Rolla Norman (Giorgio), Oreste Bilancia (Gustavo Dupont), Mary Kid, Heinrich Peer, Hedwig Pauly-Winterstein, Albert Paul, Nien Sön Ling, Hilde Maroff. P.: Phoebus Film, Berlino. L.: 1874 m. D.: 88' a 18 f/s. Didascalie italiane / Italian intertitles Da: Cineteca del Comune di Bologna e Bundesarchiv-Filmarchiv con il contributo del Projecto Lumière Accompagnamento musicale di Stefano Maccagno (pianoforte) / Musical accompaniment by Stefano Maccagno (piano) Il film è stato restaurato a partire da una copia positiva su supporto nitrato conservata dalla Cinemateca Brasileira; le didascalie, in portoghese nella copia, sono state tradotte in italiano. The restoration is based on a nitrate positive print found at the Cinemateca Brasileira; the intertitles, in Portuguese in the print, are translated into Italian. Gennaro Righelli e Maria Jacobini furono tra i primi italiani a recarsi in Germania all'inizio degli anni venti: non vi giunsero da emigranti ma aderendo ai pressanti inviti di Jakob Karol che non esitò a costruire per la loro venuta la "Maria Jacobini GmbH". Giunti a Berlino nel tardo 1922, preceduti dal successo dei loro ultimi film, Il viaggio, Cainà e Amore rosso, la coppia si mise subito al lavoro, realizzando un'apprezzata versione della Bohème, dove, accanto alla protagonista, figurò un eccellente Wilhelm Dieterle nel ruolo di Rodolfo. Dopo il successo di questo film, la Società Trianon di Berlino rilevò la Jacobini GmbH e si accordò per la realizzazione di tre film, due dei quali da realizzarsi in Egitto. Ma prima di affrontare la trasferta cairota, i cui strapazzi vennero mal sopportati dalla Jacobini, Righelli diresse per la Phoebus di Karol un altro film, Der Bastard, tratto da un romanzo che aveva avuto qualche anno prima un'immediata diffusione. Alla regia collaborò Mario Almirante, la fotografia venne affidata a tre operatori di vaglia: l'italiano Arata, l'ungherese Viragh ed il tedesco Von Borsody. Der Bastard è un perfetto film anni venti, ben diretto, fotografato, interpretato da un cast cosmopolita che si integra alla perfezione. (Vittorio Martinelli) Gennaro Righelli and Maria Jacobini were the first Italian to go to Germany in the early 20s: they did not arrive as immigrants, but after Jacob Karel's urgent invitation, who did not hesitate to create the "Maria Jacobini GmbH" just for their arrival. They finally reached Berlin in late 1922, preceded by the success of their latest films, Il viaggio, Cainà and Amore Rosso ; the couple started working right away, making a well appreciated version of Bohème , where an eccellent Wilhelm Dieterle in the role of Rodolfo played alongside the female protagonist. After the success of the film, the Trianon Company of Berlin brought the Jacobini GmbH and agreed to produce three films, two of which were to be shot in Egypt. Before moving to Cairo, whose hardship were to prove too much for Jacobini, Righelli directed for Karol's Phoebus another film, Der Bastard , from a novel which just few years before had known a sudden success. Mario Almirante took part in the direction, photography was assigned to three skilled cameramen: Arata from Italy, Viragh from Hungary and Von Borsody from Germany. Der Bastard is a perfect movie from the 20s', well directed, photographed, interpreted by a cosmopolitan cast all working together in harmony. (Vittorio Martinelli) ore 15.00 Itala Film introduzione di Gianni Rondolino (Università di Torino) proiezione di TIGRE REALE (Italia, 1916) R.: Giovanni Pastrone. P.: Itala-Film, Torino. L.: 1592 m. D.: 79' a 18 f/s. Didascalie italiane / Italian intertitles Da: Museo Nazionale del Cinema Accompagnamento musicale di Antonio Coppola (pianoforte) / Musical accompaniment by Antonio Coppola (piano) ore 17.00 Cinema Fantastico / Fantastic cinema introduzione di Antonio Costa (Università di Bologna) proiezione di estratti di IL DIAVOLO ZOPPO (Italia, 1909) R.: Luigi Maggi. P.: Società Anonima Ambrosio. 35mm. Did. it. L.: 277 m. D.: 14'. col. Da: Cineteca del Comune di Bologna e Filmoteca Española L'UOMO MECCANICO (Italia, 1921) R.: André Deed. 35mm. Didascalie italiane L.: 850 m. D.: 46' a 16 f/s. col. Da: Cineteca del Comune di Bologna FILIBUS (Italia, 1915) R.: Mario Roncoroni. L.: 1592 m. D: 79' a 18 f/s. Didascalie italiane / Italian intertitles. Da: Nederlands Filmmuseum LE AVVENTURE STRAORDINARISSIME DI SATURNINO FARANDOLA (Italia, 1914) R.: Marcel Fabre. Da: Fondazione Cineteca Italiana, Milano IL GIOIELLO DI KHAMA (Italia, 1918) R.: Amleto Palermi. L.: 1650 m. D.: 86' a 16 f/s. Didascalie olandesi / Dutch intertitles Da: Nederlands Filmmuseum ore 18.30 Film d'Arte Italiana introduzione di Michele Canosa (Università
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