| 词条 | Quo Vadis (1924 film) |
| 释义 |
| name = Quo Vadis | image = Lillian Hall-Davis.jpg | image_size = | caption = Lillian Hall-Davis in Quo Vadis | director = Gabriellino D'Annunzio Georg Jacoby | producer = Arturo Ambrosio | writer = Gabriellino D'Annunzio Georg Jacoby | based on = {{based on|Quo Vadis|Henryk Sienkiewicz}} | narrator = | starring = Emil Jannings Elena Sangro Lillian Hall-Davis Rina De Liguoro | music = | editing = | cinematography = Curt Courant Alfredo Donelli Giovanni Vitrotti | studio = Unione Cinematografica Italiana | distributor = Unione Cinematografica Italiana (Italy) First National Pictures (US) | released = {{film date|1924|10||Austria and Germany}} {{film date|1925|2|15|df=yes|US}} | runtime = 90 minutes 120 minutes (director's cut) | country = Italy | language = Silent Italian intertitles | budget = | gross = }} Quo Vadis (or Quo Vadis?) is a 1924 Italian silent historical film directed by Gabriellino D'Annunzio and Georg Jacoby and starring Emil Jannings, Elena Sangro and Lillian Hall-Davis. It is based on the novel Quo Vadis by Henryk Sienkiewicz which was notably later adapted into a 1951 film. PlotIn Rome, during the reign of Nero, a young pagan general named Marcus Vinicius falls in love with a beautiful Christian hostage named Licia. Their love appears to be impossible, because of the conflict of their religions. Nero burns the city of Rome and blames the Christians, already hated by the pagan Romans. Cast
ProductionThe film was produced by the ambitious Unione Cinematografica Italiana. D'Annunzio, the son of the poet Gabriele D'Annunzio, was considered a rising director and also wrote the film's screenplay. It was one of several attempts in early Fascist Italy to recapture the success of the historical epics of the previous decade.[1] Rudolph Valentino was invited to star in the film, but was forced to turn the offer down due to contractual reasons.[2] Production quickly became troubled – the film ran seriously over-budget, and additional financing had to be raised from Germany. The new backers insisted that a German director, Jacoby, be appointed to co-direct.[3] ReceptionThe film was a critical and commercial failure on its release, effectively ending the career of its producer Arturo Ambrosio, who had been one of the major figures of early Italian cinema.[4] In its review The New York Times described it as "excellent as spectacle, but is too tedious in many sequences to be a good entertainment".[5] D'Annunzio never directed or wrote another film. Jacoby's reputation also suffered heavily, and he switched to working on musicals and comedies.[6] Emil Jannings' performance, on the other hand, received moderate praise. The New Yorker noted that Jannings was the "one item beside boredom"[7] the movie had, but despite his "able performance"[7] they "still prefer him in Germanic studio surroundings."[7] References1. ^Ricci p.69 2. ^Williams p.98 3. ^Scodel & Bettenworth p.228 4. ^Moliterno p.7 5. ^Holston p.261 6. ^Barton p.16-17 7. ^1 2 {{Cite news|url=|title=The New Yorker, issue #3, p. 27|last=|first=|date=March 7, 1925|work=|access-date=|via=}} Bibliography
External links
20 : 1924 films|Italian films|Italian silent feature films|Italian historical films|Italian drama films|Italian epic films|Italian-language films|Films directed by Georg Jacoby|Films directed by Gabriellino D'Annunzio|Films set in Rome|Films based on Polish novels|Films based on works by Henryk Sienkiewicz|Films set in ancient Rome|Films set in the Roman Empire|Films set in the 1st century|Depictions of Nero on film|Cultural depictions of Poppaea Sabina|1920s drama films|1920s historical films|Italian black-and-white films |
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