Making the criticism of the "Four Horsemen of the Apocalypse" - come to us from overseas, accompanied by a loud drum roll and dall'encomio solemn critics of the capital - presents serious difficulties for organic complexity of work and for the thesis, I dare say, psychological - if I did not stop them a legitimate desire not to insult the psychology - that we wanted to study and play through the romantic action movie.
But the writer, not a likeness of the Roman critics and New Yorkers, equipped with the paradoxical wisdom of the glasses. It is a deep lover of cinema (as a explanation of international business), and especially a humanist.
The "Four Horsemen of the Apocalypse" appeared to the public in Turin under the seal stamped by a primary interpreter casanoviana adventure and fame of male beauty that has no reason to exist. Especially impressed by the fact that the work has cost millions and has occupied hundreds of thousands of individuals.
The mentality of our audience is still in the child has not yet fine arts education so as to make him feel at first glance the value of a film. Add to this factor, but not least, the ignorance that the public has of our cinema. Ignorance, of course, takes away the power of analysis and meets with superficiality. The "Four Horsemen of the Apocalypse" are undoubtedly of considerable artistic merit, but you know you submerge in the absolute emptiness of the "subject" of which you search in vain for the reason of being artistic. In fact we wanted to make this film a propaganda tool antigermanica, praiseworthy within certain limits of national development, and exaltation of martyrdom and courage, typically Francophile. There is, first of all, who does not see the inappropriateness of extolling martyrdom France and Germany for the occupation of the Ruhr groans !..., during which - newspapers teach - repeating the same episodes of inhumanity committed during the war by the Germans and now by the French, without nullifying the state of war.
All this has nothing to do with the content of the film, that it seemed colorless and lacking the vitality necessary to highlight the major strengths and real drama. All
terrible tragedy unleashed on the world dall'eccidio of Sarajevo in November 1918, educated in its most atrocious is summarized in the film and, scenic, well-represented. But it is the romantic action matters for the public, and the action does not follow with equal intensity dramatic background of the fierce war.
There are, indeed, moments of "pathos," there are also brutal reality that sometimes force us to take to ourselves and to listen to the nagging whisper of the soul: but this is the product of a subjective impression - responding to the particular state of mind and spirit of the viewer - and objective examination of the work will reveal the impressions saturated with banality.
The pipeline of the "subject drama 'is reduced to very poor thing if it separates the horrible scenario of the war - but with a few vigorous strokes path - from the intimate and personal and spiritual drama of the protagonists: it is true that the two elements - the substantial 'one, and the other formal - should be inseparable, but still should find in themselves the reason for being and then seek and identify with each other in the same torment. This does not happen. We say two episodes tied together badly fragmented, whose union is invisible to both.
In conclusion I believe that 'The Four Horsemen of the Apocalypse "are classified in the category of films' discreet', but not be worthy of such fame (and here it is worth remembering that our Union Italian Film Festival has created many jobs even among poor , from the great masterpieces that have come to the soul of audiences around the world, without being trumpeted American). This
as regards the artistic content of the subject.
For its ethical content I think that magnificent means of spiritual penetration which is the cinema should not be used to teach hatred between peoples, but rather to elevate the human spirit towards the common ideal of love and brotherhood.
and pondered deeply on the words that wonderful character who is the "philosopher" pronunciation (originally) in the cemetery of the fallen French extending their arms with a gesture as if to close them in the spirits of the dead on both sides:
All I know them ! ... All are brothers ...
So be it. Dova
Amilcare (cinema, April 22, 1923)
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