Governor Springs Briggs And Stratton

The Four Horsemen of the Apocalypse, Valentino, and criticism

Cinema Umberto, Bari . The Four Horsemen of the Apocalypse (Metro). I say it now: a great Movie! Great in terms of technical and artistic. If the movie as critics have ruled competent Naples, tends to a political propaganda for a nation, this is not the least impressed the audience of Bari, which is not at all gone into a frenzy for this, or that patriotic scene, but rather follow the unfolding of the drama, just watching the players and the events of the drama, at times uttering exclamations of irony, to some exaggerated scenes of the orgy of German troops. Just as the time of Nero! Most admired throughout the unfolding of the drama, the art of the two excellent main characters. Rudolph Valentino, Italian, and most of Puglia, southern brown with that nice guy, gives life to the character he most admirably flesh, Alice Terry assisted by dignity, a true gem of beauty overseas. Replies Number and huge audience.

Modernissimo, Florence . The Four Horsemen of the Apocalypse (Metro). As I wrote at the beginning of my short film reviews, the success of this work was really indescribable, when you think of successfully holding the bill for over a month and almost always sold out with salt.

Excelsior Cinema, Palermo . The Four Horsemen of the Apocalypse , the Metro, a film is justifiably exalted from advertising. The first and second parts are not of great importance, the other four elevators work at a height, rarely achieved until now.
admirable movement of the masses, the constant and precise synchronization between the assembly and details, talented artists, all well together for the sole purpose of a balanced and tend to emphasize the role entrusted to them, great pictures, the beautiful interweaving , nice, clear and moral symbolism, which emphasizes the cruelty of war.
our enthusiasm is not unwarranted. In the presence of such films feel obliged to remind those who work among us, to study and observe, and shouting agl'inattivi: Shame!

Film Bios Bologna . The Four Horsemen of the Apocalypse . The film has come to us after the resounding triumphs reported in other Italian cities and abroad, and then was expected, almost morbidly. He held a sign for fifteen days continuously and drew immense crowd.
Speaking of the work is unnecessary, after which courses are rivers of ink on the film, the protagonists, etc. used on the masses. I will only say that here too there has been a remarkable success, but that many were expecting a more comprehensive and more responsive to the instrument, to be honest, you need a booster.
I am convinced that the work loses much of its value in the Italian edition. The titles of the paintings are badly translated, and even technically unappealing. In some ways then the film has too obviously incomplete and incomprehensible for not being mutilated to somewhere interesting. However, this does not hurt that I'm in the complex vastness of the work, attention to detail and plays with rare skill.
Rudolph Valentino is imposed for serious, fair and nice acting, the other very well.

Oriental Cinema, Modena . The Four Horsemen of the Apocalypse , the well-known production of the Metro. Talking about this movie and describe the wonderful impression given is how to repeat for the millionth time the praises of past critics. I will only say that this cinematic gem you had to present with all that optical and mechanical precision that he deserved.
E 'inexcusable misconduct by the management of the hall, in neglecting not only the framed panel proeizione, but also the operations of the cabin.
little light, even in low light so that it becomes difficult to read the wonderful captions. Despite this drawback, which we hope will soon be eliminated, the public has found true and intimate moments of emotion, especially in the love scenes of Valentino and the fascinating Terry; those of trench warfare and the time of the departing troops, where he able to vent its unanimous favor with warm applause.

Ferret Recurrent Sores

1923 The Four Horsemen in the cinema Ambrosio 1923

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)