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In Renaissance Florence, Tito, a no-good young man pretending to be a scholar, wins the admiration of a blind man who has long looked for someone to finish his scholarly work. He has a beautiful daughter named Romola. Tito flirts with a peasant girl in the streets, and for fun goes through a mock marriage with her -- but she takes it seriously. Romola doesn't really love him, but marries him because her father wishes it. When the Medici are forced out, Tito joins the new government and rises to be chief magistrate. His evil actions earn him the hatred of Romola and of the people, and he is killed by his stepfather. Romola ends up with sculptor Carlo, who has always loved her. Written by
John Oswalt <email@example.com>
During the early silent cinema history, historic or costume films were in fashion among audiences around the world; people liked very much to watch all those dressed up characters playing epic adventures and recreating historical events through times in old Europe.
Herr Henry King directed "Romola" in the silent year of 1924 just after the excellent "The White Sister" which was filmed entirely in Italy as was "Romola", so the Amerikan director thought that for the cost of one film, why not to have two?... And of course staying in Italy provided more time for producers and cast to be tourists through the beautiful capital city of the region of Tuscany, Florence and surroundings.
The story is set in Florence when the splendorous Italian city was ruled by the Medici, that is to say, it's a tale of ambition, political intrigues along with a love story and images of the beautiful city. Unfortunately, "Romola" is not a very inspired work; a very strange case this because with such elements and the Medici's spirit around, Herr King should have made a more interesting oeuvre. On the contrary, "Romola" is a wizened film, older in style than the Medicis themselves.
The most interesting aspect of the film are the actresses and actors. The Gish sisters have the leads and, while they are not at their best certainly, it is always a pleasure to watch Dame Lillian and Dorothy playing their conventional heroines so common in these historical productions. As for the actors, well, to watch Herr William Powell and Herr Ronald Colman wearing those unbecoming hairdos together with stretched tights without losing their dignity is a very remarkable and important event in itself, ja wohl
And now, if you'll allow me, I must temporarily take my leave because this German Count must try to cram his plump Teutonic body into one of those fashionable tights.
Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
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