Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
"La morte civile" was based on a popular melodrama by Paolo Giacometti
and has been filmed several times. It is the story of a woman, Rosalia,
who marries a failed painter, Corrado, despite the opposition of her
family to the marriage. They have a little daughter, Ada. A violent
argument between the woman's brother and her husband provokes Corrado
into killing his brother-in-law. He is tried and sentenced to life
imprisonment. Some grim sequences delineate this incarceration.
Meanwhile a doctor who has lost his wife and little daughter comes to
Rosalia's aid, assuming the role of the child's father while Rosalia is
hired as the little girl's governess. The child is now called Emma
after the daughter that Palmieri lost. Rosalia is in fact her mother.
The girl believes this fiction as the next few years pass. Later
Corrado escapes from prison and returns in an attempt to restart his
life with his wife and daughter, but he comes to see this cannot be. He
asks Rosalia to have little Emma call him "father" before he goes away
forever. The "forever" turns out to be a brief one as Corrado dies in a
fall, probably a suicide. But, as the title implies, he has already
died a "civil death" in his imprisonment and separation from family and
society. The film is very well acted by Dina Sassoli as Rosalia, Carlo
Ninchi as Corrado, and Renato Cialente as the benevolent Doctor
Palmieri. The stark atmosphere of the Gargano peninsula in Puglia gives
force to the stark emotions of the drama which contains, like a somber
and tragic opera, absolutely no humor or levity. A particularly good
scene has a procession of townsfolk to a religious shrine. It has a
surge of emotion that is similar to the one in Fellini's "Nights of
Cabiria," and it is taking place as Corrado makes his re-appearance
from the dead. The last half-hour of the film is particularly strong
and moving. Director Ferdinando M. Poggioli was one of the finer
craftsmen of the Fascist era, though this film has descended into
virtual oblivion. It deserves to be better known.
1 of 1 people found this review helpful.
Was this review helpful to you?