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Catalogo Giornate Del Cinema Muto 2011

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Catalogo Giornate Del Cinema Muto 2011 Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A. Buchwald Johan Nordström Paolo Cherchi Usai Natalia Noussinova Ian Christie Irela Núñez Roland Cosandey Jan Olsson Daniela Currò Maria Assunta Pimpinelli Carl Davis Touve R. Ratovondrahety Jan Anders Diesen David Robinson Bryony Dixon Ulrich Ruedel Miguel A. Fidalgo Clara Sánchez-Dehesa Mark Fitz-Gerald Scott Simmon Oliver Hanley Maria Luisa Sogaro Rex Harsin Kristin Thompson Alexander Jacoby Quentin Turnour Anton Kaes Jon Wengström Sergei Kapterev Caroline Yeager J.B. Kaufman Joshua Yumibe Redazione / Edited by Catherine A. Surowiec Traduzioni / Translations by Lenny Borger, Mark Brady, Paolo Cherchi Usai, Aurora De Leonibus, Sonia Dose, Andrea Filippi, Luca Giuliani, Piera Patat, David Robinson, Catherine A. Surowiec, Andrea Tessitore; Key Congressi, Trieste. Copertina/Cover: The Circus © Roy Export S.A.S. Sommario/Contents page: Goldie Locks and the Three Bears (Laugh-O-gram, 1922). Legenda – Credits: ad: adattamento/adaptation; anim: animazione/animation; assoc. prod: associate producer; asst: assistente/assistant; bn, b&n = bianco e nero; b&w = black and white; col: colore/colour; co-prod: co-produzione/co-production; cost: costumi/costumes; des: designer; dial: dialoghi/dialogue; dir: director; dir. prod: direttore di produzione; dir. tecn: direzione tecnica; dist: distribuzione/distributor; ed: editor; eff. sp: effetti speciali; exec. prod: executive producer; f: fotografia; fps: fotogrammi al secondo/frames per second; ft: piedi/feet; interv: intervistati/interviewees; lg. or: lunghezza originale; m: metri/metres; mont: montaggio; mus: musica/music; narr: narrazione/narration/narrator; op: operator; orig. l: original length; ph: cinematography; prod: produzione/producer; prod. assoc: produttore associato; prod. asst: production assistant; prod. esec: produttore esecutivo; prod. mgr: production manager; rec: recordista/recordist; reg. son: registrazione sonora; ried: riedizione; rl: rulli/reel(s); scen: sceneggiatura/scenario/screenplay; scg: scenografia; sd: sonoro/sound; sogg: soggetto; spec. eff: special effects; supv: supervisione/supervisor; supv. ed: supervising editor; supv. mont: supervisione montaggio; supv. tecn: supervisione tecnica; tech. dir: technical director; tech. supv: technical supervisor; v.c: visto di censura. L’anno indicato tra parentesi, nell’area del titolo, è, salvo errori, quello di edizione. / The year indicated in parentheses on the title line is ordinarily that of the film’s release. Presentazione / Introduction Siamo dunque arrivati alla trentesima edizione delle Giornate del Cinema Muto, un traguardo che certo non immaginavamo nel settembre del 1982 quando organizzammo una rassegna di tre giorni destinata a un piccolo gruppo di amici. La star di quella prima edizione era Max Linder e non è senza un pizzico di nostalgia che riportiamo quest’anno sullo schermo del Verdi alcuni dei comprimari di allora, da Cretinetti a Polidor a Charlot. Ammireremo quest’ultimo in The Circus con partitura orchestrale dal vivo e in due cortometraggi Mutual accompagnati dall’eccellente gruppo friulano degli SpilimBrass. Il film inaugurale sarà invece Nuova Babilonia di Kozintsev e Trauberg, con il restauro della geniale ma difficile partitura di Shostakovich, innalzata a nuove vette da Mark Fitz-Gerald, che dirigerà anche la musica del compositore per quello che doveva essere il finale del film. Concluderemo il festival con il maestoso accompagnamento che Carl Davis ha scritto per The Wind e che avevamo ascoltato per la prima volta a Pordenone nel 1986. Maud Nelissen proporrà il suo score per Il cappotto di Kozintsev e Trauberg, mentre Touve Ratovondrahety accompagnerà El Dorado di Marcel L’Herbier con una trascrizione per pianoforte della musica originale, raramente eseguita, di Marius-François Gaillard. Non mancherà “A colpi di note”, l’ormai tradizionale appuntamento della domenica pomeriggio con le piccole orchestre delle scuole pordenonesi, mentre i nostri pianisti si produrranno nei consueti prodigi musicali quotidiani. È questo un anno di spettacolari scoperte, a cominciare dal ritrovamento in Italia, dopo più di un secolo, di uno dei primi film a soggetto mai girati in Inghilterra (e nel mondo intero), The Soldier’s Courtship di Robert Paul (1896), di cui finora si conoscevano solo pochi fotogrammi e un estratto diflip-book : alle Giornate lo vedremo praticamente intero nel meticoloso restauro della Cineteca Nazionale. Ma vedremo anche Greta Garbo baciare Lars Hansen (il co-protagonista di The Wind) in un breve frammento di The Divine Woman. E segnaliamo anche Santarellina di Mario Caserini, considerato il primo esempio di commedia sofisticata italiana. È stato trovato di recente anche un rullo imbibito con inquadrature “perdute” di La grande ruota di Kozintsev e Trauberg – un film che l’accanimento della censura e le ingiurie del tempo hanno ridotto di metà della lunghezza originale. Il caso vuole che l’unico provino sopravvissuto risalente al cinema muto sovietico sia quello per il ruolo femminile principale in Nuova Babilonia. La diciassettenne candidata, Raisa Garshnek, non ottenne la parte, ma ora, a 101 anni di età, è felice che il suo film di un minuto venga proiettato in prima assoluta sullo schermo del Verdi. Le Giornate hanno già presentato i Laugh-O-grams di Walt Disney, ma questa volta la serie è davvero integrale, in quanto comprende due titoli finora ritenuti perduti e un terzo di cui si ignorava persino il fatto che fosse stato realizzato. Altri grandi animatori ci saranno svelati grazie a due programmi dedicati ai pionieri dell’anime giapponese. Riscoperta dal Museo Nazionale del Cinema di Torino a cento anni dalla realizzazione e in una copia pressoché perfetta, la prima versione cinematografica di David Copperfield costituisce l’elemento centrale di un omaggio agli straordinari esiti ottenuti nei primi anni Dieci dalla Thanhouser Company (e rappresenta altresì un invitante anticipazione dell’omaggio che le Giornate dedicheranno l’anno prossimo al bicentenario dickensiano). Il ritrovamento più acclamato sul piano internazionale è quello di The White Shadow di Graham Cutts: tre rulli superstiti sono stati identificati presso il New Zealand Film Archive, “rimpatriati” negli Stati Uniti (anche se in realtà si tratta di una produzione britannica) e restaurati a cura della National Film Preservation Foundation. Prima ancora di essere proiettato, questo film è stato definito un “Hitchcock riscoperto”: l’allora ventitreenne esuberante cineasta vi collaborò come assistente alla regia, co- sceneggiatore e scenografo, dando, a quanto sembra, un contributo così rilevante che dopo il film successivo Cutts chiese che gli togliessero di torno quell’impiccione. L’intero festival attende con ansia la proiezione nella speranza di scorgere la mano del futuro maestro. Le Voyage dans la lune di Georges Méliès non si può definire una novità, ma alle Giornate questo capolavoro potrà essere ammirato nella versione originale colorata a mano che è il risultato di un’operazione di restauro decennale condotta dalla Lobster Films e i cui sbalorditivi costi sono stati sostenuti, nelle ultime fasi, dalle fondazioni Gan e Technicolor. Non potevamo non invitare a parlarci del progetto da loro avviato e amorevolmente seguito, i fondatori della Lobster, Serge Bromberg e Eric Lange, che infatti terranno la Jonathan Dennis Memorial Lecture 2011. E nella doppia ricorrenza della nostra trentesima edizione e del centocinquantesimo anniversario dell’unità d’Italia, non potevamo non celebrare il cinema nazionale proponendo vecchie conferme e nuove scoperte, personalità a noi care, Francesca Bertini, Pina Menichelli, Febo
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