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Cyrano de Bergerac (1923)

Cirano di Bergerac (original title)
Cyrano de Begerac is joyous, witty, a poet, a leader and filled with plenty of charisma and bravado in 17th Century France. He has only one flaw: an unusually long nose which makes him ... See full summary »


Augusto Genina


Mario Camerini, Edmond Rostand (play)

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Credited cast:
Pierre Magnier Pierre Magnier ... Cirano di Bergerac (Cyrano de Bergerac)
Linda Moglia Linda Moglia ... Roxana (Roxane)
Angelo Ferrari ... Baron Christian de Neuvillette
Maurice Schutz ... Le Bret (as Schutz)
Alex Bernard ... Ragueneau
Umberto Casilini Umberto Casilini ... Guiche
Rest of cast listed alphabetically:
Gemma De Sanctis Gemma De Sanctis
Roberto Parisini Roberto Parisini


Cyrano de Begerac is joyous, witty, a poet, a leader and filled with plenty of charisma and bravado in 17th Century France. He has only one flaw: an unusually long nose which makes him unattractive to any woman. Thus, he cannot have the woman he loves, his cousin Roxanne. Roxanne loves an officer in his army who gets tongue-tied in front of women. Who will Roxanne love? Will Cyrano ever find love? Or will he find happiness in helping the officer woo Roxanne? This is a story of split personalities, human frailty and unrequited love. Written by erasmus

Plot Summary | Add Synopsis


Edmond Rostand's immortal love drama. See more »


Drama | Romance | War


TV-G | See all certifications »



Italy | France

Release Date:

18 January 1924 (France) See more »

Also Known As:

Cyrano de Bergerac See more »

Company Credits

Show more on IMDbPro »

Technical Specs


(1999 alternate)

Sound Mix:



Color (hand-colored)

Aspect Ratio:

1.33 : 1
See full technical specs »

Did You Know?


The play was inspired by a real person, Cyrano de Bergerac, Savinen (1619 - 1655), an author known for his swordsmanship and large nose. See more »

Alternate Versions

In 1999, Film Preservation Associates copyrighted a 113-minute version with a new score written by Kurt Kuenne, performed by The Olympia Chamber Orchestra and conducted by 'Timothy Brock'. See more »


Version of Cyrano de Bergerac (2005) See more »

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User Reviews

Here's a museum piece of the silent screen, not at all hard to watch!
26 September 2005 | by fisherforrestSee all my reviews

Although I am a dedicated watcher of old movies, including silents, I must confess some are more of a trial than a pleasure. But that is certainly not the case with this 1925 Italian produced silent film of Rostand's famous play. Sure, doing a silent version of a very talky play like CYRANO DE BERGERAC presents considerable problems for the director. Here, they are partly solved by very frequent, some might think incessant, title cards, presented simultaneously in Spanish and English. The bilingual presentation suggests that the single surviving copy which provided this restoration was probably an export print.

For the silent era, the acting here is rather restrained, suggesting that maybe the cast were stage trained people. Since I presume almost everyone knows the "Cyrano" story, I'll skip over any synopsis attempt, and comment upon what for me was the most intriguing aspect of the film. I refer to the colour process used. It was called the "Pathe Stencil Process", and I confess to an imperfect understanding of exactly how it was worked. It appears that individual frames were projected on ground glass slides, hand coloured by artists, and these plates then used to produce the individual "colour" frames in the final print. This was a painfully slow process. Witness that the film was started in 1922, and release prints were not available until 1925.

If you find the editing choppy at times, probably the blame lies on how exhibitors handled the single surviving print when it was in general release. In those days, it was not uncommon for an exhibitor to edit out portions of a film which he did not like, or perhaps to simply shorten the film. See, the shorter the film, the more audiences you could run by it. Anyway, this old film is worth a look. The hand colouring is used mostly on the costumes, sometimes on faces and backgrounds. The idea, perhaps, was to recreate the feeling of old paintings, not real life colour. Note that in the period 1922 to 1925, the 2-strip Technicolor process was under development, and might have been available to the producers for testing or use. In any case, they didn't use it, and we have something unique as a result.

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