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Resurrectio (1931)

A famous composer, distraught after his lover leaves him, contemplates suicide. He meets a young woman who restores his will to live.


Alessandro Blasetti (screenplay), Alessandro Blasetti (story)


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Cast overview:
Lia Franca ... La ragazza (as Lya Franca)
Daniele Crespi Daniele Crespi ... Pietro Gaddi
Florica Alexandresco ... La vamp (as Venera Alexandescu)
Olga Capri Olga Capri ... La sognora grassa sull'autobus
Mario Mazza Mario Mazza ... Un operaio sull'autobus
Giacomo Moschini Giacomo Moschini ... Un gentleman del tabarin (as Aldo Moschino)
Alfredo Martinelli Alfredo Martinelli ... Alto gentiluomo al tabarin
Aristide Baghetti Aristide Baghetti ... Un uomo al 'Astoria'
Giorgio Bianchi Giorgio Bianchi ... Altro uomo al 'Astoria'
Giuseppe Pierozzi Giuseppe Pierozzi ... Il barista
Idolo Tancredi Idolo Tancredi ... Un operaio alla fermata
Renato Malavasi Renato Malavasi ... Spettatore al concerto
Umberto Sacripante Umberto Sacripante ... Gentleman all'Astoria


A famous composer, distraught after his lover leaves him, contemplates suicide. He meets a young woman who restores his will to live.

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Release Date:

30 May 1931 (Italy) See more »

Also Known As:

Kdyz láska procítá See more »

Company Credits

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Technical Specs

Sound Mix:

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Did You Know?


This was the first Italian 'talkie' to be produced, although not the first distributed (that was Gennaro Righelli's 'La canzone dell'amore', allegedly because it was thought to be more commercial). See more »

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User Reviews

First Italian talkie.
25 November 2015 | by MozjoukineSee all my reviews

Blasetti's take on sound is a breakaway from what was being done at the time with key sequences - the bus ride, the Concerta Sinfonica - played in images and mime without dialogue, till they come in on closer shots where the characters get synch. sound for speech. It works a treat, preserving the visual style of the silents and adding the character's voices and music.

Though Lya Franca, as in Camerini's GLI IOMINI, CHE MASCALZONI, is plausible and involving, while the rest are grotesque elements of the simple minded romance melodrama, all the lead trio vanished from movies.

The camera-work is consistently excellent, clear and convincing and the design is one of the film's striking elements - vamp Alexandresco in her preposterous high fashion outfits contrasting with heroine Franca in her cloche hat or the Art deco pleasure palaces and apartments against her simple home, bus, big store job and factory whistle streets.

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