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 ...
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John S. Robertson
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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 <firstname.lastname@example.org>
I guess this isn't an awful film, but after recently viewing it, I was struck by how it really needed that Griffith touch. Especially since the script was something Griffith would have done. But they missed out on any chance for true suspense by neglecting everything they should have learned from Griffith about climactic cross-cutting.
Wow...I feel like I'm turning into a film geek or something. (I guess I like Griffith more than I thought...or I've just seen too many of his films.)
Anyway, if you want to see a movie worth watching with the Sisters Gish (and who doesn't??), watch (or re-watch) Orphans of the Storm. View this only as a comparison as to why Griffith was truly a master.
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