Three centuries before Christus. Young Cabiria is kidnapped by some pirates during one eruption of the Etna. She is sold as a slave in Carthage, and as she is just going to be sacrificed to... See full summary »
A poor student rescues a beautiful countess and soon becomes obsessed with her. A sorcerer makes a deal with the young man to give him fabulous wealth and anything he wants, if he will sign... See full summary »
A young wife and her musician husband live in poverty in a New York City tenement. The husband's job requires him to go away for for a number of days. On his return, he is robbed by the ... See full summary »
Young Pauline is left a lot of money when her wealthy uncle dies. However, her uncle's secretary has been named as her guardian until she marries, at which time she will officially take ... See full summary »
Based on the Edward Bulwer-Lytton novel. Set in the shadows of Mt. Vesuvius just before its famous eruption, the film begins with Glaucus, a Roman legionnaire, returning to his home from ... See full summary »
Well respected Pompeiian Glaucus performs an act of kindness by buying Nidia, a blind slave being mistreated by her owner. Nidia falls in love with her new master, but he only has eyes for Jone. Jone in turn is lusted after by Arbace, an Egyptian high priest of Isis. When Nidia beseeches Isis for help in capturing Glaucus' heart, Arbace gives her a "love" potion, which really will affect his mind and not his heart, thus opening the way to Jone for himself. When Arbace's disciple is murdered Glaucus finds himself in hot water, shortly after which Mt. Vesuvius erupts. Written by
Ron Kerrigan <email@example.com>
When Glaucus brings Jone back to her home, the inside of her house is shown with an open air atrium represented by a painted backdrop. We can tell it is a backdrop because the sun in hitting it in such a way that the shadow of other part of the set fall across it. See more »
A young blind woman and her general misery provide the focus for this 1913 silent film. Her story is set against everyday life in Pompeii, just before the eruption of the famous volcano.
Visually, the film consists of staged sets, rather like modern stage plays. There is no camera movement. Actors mouth words we can't hear. The only sound is the music of a piano, provided on behalf of DVD viewers. The music varies in tone with tonal variations in the story. Alternating with the play and to assist the visuals, title cards convey a verbal sense of what will happen in the next scene.
Acting is very, very theatrical. When they move, the players don't walk, so much as they tiptoe across the stage, in a self-conscious and stagy manner. When there's conflict, the players overact, exaggerating both body movements and facial expressions. But that was how it was done back then. Costumes are elaborate, and at times ornate.
Vesuvius erupts in the final few minutes of the film. Lots of smoke, some soot, a change in the film's tint to reddish, falling pillars, and predictable histrionics of the players comprise the special effects.
Even aside from the simplicity of the special effects and the absence of sound, the film is not likely to appeal to modern audiences, if their purpose in watching films is to be entertained. For one thing, the film's pacing is very slow. Also, there's lots of filler material, like scenes wherein characters sit around feeding pigeons. And I found it hard to identify with any of the characters. They seem too thinly drawn and remote.
In its time, "The Last Days Of Pompeii" must have seemed like a grand spectacle. We are fortunate to have the film now, as a benchmark from which to compare contemporary films. Ergo, for those interested in the history of the cinema, and for those who want some perspective on modern film-making, this film is a fine choice.
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