549:), her first production at Rinascimento Film. Highly unusually for the time, the story of the protagonist is told through an extended flashback. An unconscious woman with gunshot wounds is brought into the city hospital. After conversing with her doctor, a detective finds the woman's diary, which is then used to tell the story of her life. At the end of the film, the unknown woman dies, having never regained consciousness, and the detective sets off to arrest her killer. The sets and interiors, extravagant in Menichelli's earlier films, were reduced to a bare minimum, and the film used
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Baron Carlo D'Amato, and made a total of thirteen films there between 1919 and 1923. Despite the deepening crisis in the
Italian film industry during these years, Menichelli's films continued to do well commercially because of her enduring popularity in certain countries, such as Mexico, and Rinascimento Film's calculated appeal to export markets, which included adapting foreign texts and putting foreign co-stars alongside Menichelli.
383:
419:, Dolski betrays Natka and kills himself when Natka finds him. After telling La Ferlita the story, Natka then disappears for several months, and La Ferlita is unable to find her. When the countess and the diplomat eventually meet, they are locked in a room in a huge theatre and hotel, which goes up in flames. The impressive scenes of the fire were made with the help of expert cinematographer
30:
330:
374:
depicts a key moment in the film. Menichelli's character knocks over an oil lamp, and asks Mari's character to choose between love and all-consuming passion, and he chooses the latter. Menichelli's feathered hat, long capes and fierce gestures make her seem like an owl and reinforce one of the film's
369:
novel of the same name, and was developed from a screenplay by Febo Mari, Menichelli's co-star. However, the film was full of d'Annunzian themes of violent passion, power and decadence. The film is divided into three parts: La
Favilla (the spark), La Vampa (the flame/blaze) and Il Cenere (the ashes),
615:
in 1909, Pina
Menichelli married an Italo-Argentine, Libero Pica, and the couple had three children. One child, a boy, was born in 1909 and died shortly afterwards. The second, a son called Manolo, was born in 1910. The couple separated when Menichelli was pregnant with their third child, a daughter
526:
for his permission to leave Itala Films. During her four years at Itala Films, Menichelli's career had reached great heights, and her salary had increased from 12,000 lira per year to 300,000 lira per year. Menichelli moved to
Rinascimento Film of Rome, which had been founded specifically for her by
483:(1916) has survived, making any judgement of the film or Menichelli's performance difficult. The film was a success in Spain, France and Central America.In Italy, the film's ending was changed on the orders of the Italian censors, and the film was a commercial failure. A similar fate also awaited
410:, who refused to have his name appear on the poster or in the film's credits. The plot concerns a diplomat, La Ferlita (Alberto Nepoti), who falls in love with the Russian Countess Natka (Menichelli). Natka frequently encourages then rejects La Ferlita, and their love story is broken up by a long
298:. However, reviews of her last films at Cines suggest that Menichelli was well on her way to film stardom before her move to Itala Films. Menichelli had graduated to starring roles in feature films, and her performances were generally positively reviewed, earning her favourable comparisons with
630:
On the death of her first husband, who had always refused to annul their marriage, Menichelli married Baron Carlo D'Amato, founder of
Rinascimento Film, in 1924. Menichelli retired from public life and refused all contact with film historians. Menichelli also destroyed all the documents and
458:
cinema." Both films allowed audiences a passport into the exciting lives of the upper-classes; an imaginary world of luxury where it was possible to transgress
Italian society's strict moral codes. More widely, both films have also been mentioned as classics of the
471:. While Bertini rejected close-ups in the early part of her career, Menichelli managed to express a lot of emotion in them. Unlike Bertini, Menichelli did not claim to be the 'creator' of her character, and worked under the orders of her directors.
224:. Her parents, Cesare and Francesca Malvica, were both touring theatre actors, who performed in Sicilian language. The Menichellis were part of a dynasty of performers, which included Nicola Menichelli, an important eighteenth century
259:), before gaining supporting roles in several films based around famous actresses, such as Hesperia (Olga Mambelli), Soava Gallone and Gianna Terribili-Gonzales. Menichelli received positive reviews for her performances in
414:
to Natka's previous relationship with a young revolutionary called Dolski (Febo Mari). Amid some beautiful snow scenes, Countess Natka's chance encounter with Dolski leads to a passionate romance. Exiled to
423:. The film's structure demonstrates Pastrone's secure grasp of cinematic form. Pastrone made excellent use of extended flashbacks and highlighted the parallels in the narrative with an effective system of
231:
Being part of a family of touring actors, Menichelli started acting as child. Her first important role was in 1907 in a theatre company run by Irma
Gramatica and Flavio Andò, which toured
199:
Since her death, restorations of
Menichelli's surviving films have been shown at important film festivals, and her filmography has been re-assembled and re-evaluated by film historians.
196:
and on her passionate, decadent eroticism. Menichelli became a global star, and one of the most appreciated actresses in
Italian cinema, before her retirement in 1924, aged 34.
487:, which had been made by Itala in 1915, and was only released in Italy in 1919, having been cut from 1400 to 955m. The film was a commercial failure in Italy. However
228:. Her older sister Lilla, younger sister Dora, and brother Alfredo all became actors. Pina Menichelli was educated at the Sacre Cuore Catholic School in Bologna.
514:(The boss of the ironworks) alongside Amleto Novelli, one of the most famous Italian actors of the period. The film was a huge commercial and critical success.
1939:
370:
which correspond with the three phases of the relationship between
Menichelli's aristocratic poet and Mari's impoverished painter. The original poster for
1735:
442:, Menichelli impressed cinema audiences with her, "...erotic charge, seductive glances and provocative body movements," and established herself as the
1003:(1916), is preserved in the archives of the Italian National Cinema Museum, Turin, Italy, and in the archives of the Cineteca Nazionale, Rome, Italy.
955:
was highly flammable and often discarded. Restorations of Menichelli's films have been shown at important film festivals, including the
863:
353:), which was a global popular and critical success. This acclaim catapulted Menichelli into the ranks of the lavishly-paid cinema
182:, was an Italian actress. After a career in theatre and a series of small film roles, Menichelli was launched as a film star when
1934:
1914:
1842:
627:, one of the most famous Italian male film stars of the 1910s, who managed to hide his separated wife from public view.
623:
The fact that Menichelli was a 'separated woman' was well known to the Italian public. This contrasts with the likes of
1723:
314:(1915), another reviewer remarked, "The public like Menichelli, and that's enough. I could say that I like her too."
1904:
1009:(1916), is preserved in the archives of the Cineteca Nazionale, Rome, Italy. Only a fragment of the film survives.
1909:
306:, the two most famous Italian film actresses of the time. One reviewer noted Menichelli's, "uncommon talent," in
1944:
960:
1919:
595:(1917). This marked a change from her usual serious roles, and both films were very popular with the public.
379:
and birds of prey. Menichelli earned the nickname 'Our Lady of Spasms' for her abrupt gestures in this film.
1615:
1679:
893:
994:
913:
294:, who cut a frame from the film reel and ordered that the unknown actress be brought to Itala Films of
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192:(1916). Over the next nine years, Menichelli made a series of films, often trading on her image as a
1653:
571:
In 1923, the final year of her career, Menichelli starred in two light-hearted romantic comedies,
1572:
243:
After her return to Italy in 1912, Menichelli acted in around thirty-five films made by Cines of
463:
genre, although Menichelli's acting style was very different from the more theatrical styles of
956:
560:
In 1922, Rinascimento Film decided to adapt a play by English author Arthur Wing Piñero called
366:
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Her co-star in both films was French actor Marcel Lévesque, best known for his comic roles in
411:
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1929:
1924:
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8:
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1015:(1919) is preserved in the archives of the Italian National Cinema Museum, Turin, Italy.
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was released uncensored in Britain, France and Germany, and was a commercial success.
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406:), directed by Giovanni Pastrone. The screenplay was loosely adapted from a novel by
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952:
564:. Menichelli travelled to London to shoot the exterior scenes. The resulting film,
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because Menichelli was "troppo...affascinante!" (too...fascinating!) in the film.
580:
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690:
407:
29:
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decided to launch Menichelli as a film star, and gave her the lead role in
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in 1908. Menichelli married and took up residence in Buenos Aires in 1909.
1573:"Il restauro di Il fuoco alle Giornate del Cinema Muto di Pordenone 2010"
213:
63:
510:(1918) was released to moderate reviews. In 1919, Menichelli starred in
247:
in 1913–1915. Menichelli initially had parts in action-adventure films (
1885:
503:
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photographs relating to her film career which were in her possession.
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973:(1913) is preserved at the EYE Film Institute in the Netherlands.
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291:
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1021:(1920), is preserved at the Cineteca of Bologna, Bologna, Italy.
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Blom, Ivo (2005). "Menichelli Pina". In Abel, Richard (ed.).
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as a drummer girl. Legend has it that her performance struck
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178:(10 January 1890 – 29 August 1984), known professionally as
1801:. Vol. 13. Rome: Istituto della Enciclopedia italiana.
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1527:
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1367:
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Giuseppa Iolanda Menichelli was born on 10 January 1890 in
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568:(1922), was praised by English and Italian critics alike.
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are perfect examples of what Aldo Bernardini defined as, "
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275:(1914), but all her scenes were cut from the final film.
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passion and defiance: silent divas of the italian cinema
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In 1919, Menichelli broke down in tears when she asked
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1163:
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845:, directed by Augusto Genina and Eugenio Perego (1919)
1872:
Giovanni Pastrone. Gli anni d'oro del cinema a Torino
1247:
1245:
1232:
1230:
966:
The following films are preserved in film archives:
951:, many of Menichelli's films have been lost because
1634:
1488:
1288:
1156:
1055:
603:Menichelli retired from the silent screen in 1924.
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1242:
1227:
557:, creating large areas of shadow within the set.
1896:
534:An unconscious Pina Menichelli at the start of
993:) (1916) is preserved in the archives of the
1940:Actors from the Metropolitan City of Messina
634:Menichelli died in Milan on 29 August 1984.
517:
1856:. Rome/Venice: Bianco & Nero, Marsilio.
1756:
1221:
821:, directed by Gero Zambuto (1918)-known as
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1826:Pina Menichelli. Le sfumature del fascino
502:) was banned from cinemas by the Italian
394:In 1916, Menichelli's status as a screen
1832:
1819:. Bologna: Edizioni Cineteca di Bologna.
1808:Breve Storia Del Divismo cinematografico
1805:
1787:
1482:
1424:
1407:
1282:
1270:
1204:
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671:, directed by Baldassarre Negroni (1913)
653:, directed by Baldassarre Negroni (1913)
529:
474:
381:
328:
1865:. Florence: Il Castoro/La Nuova Italia.
1660:. Italian National Cinema Museusm (MNC)
1622:. Italian National Cinema Museusm (MNC)
1579:. Italian National Cinema Museusm (MNC)
271:(1913). Menichelli played Cleopatra in
238:
133: 1909; died 1924)
1897:
1757:Abrate, Piero; Longo, Germano (1997).
785:, directed by Giovanni Pastrone (1916)
365:. The film bore no formal relation to
1833:Palmieri, Eugenio Ferdinando (1994).
1814:
1796:
1494:
1061:
937:, directed by Telemaco Ruggeri (1925)
923:, directed by Telemaco Ruggeri (1923)
903:, directed by Telemaco Ruggeri (1923)
877:, directed by Telemaco Ruggeri (1921)
216:, a small village in the province of
1860:
1851:
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1640:
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767:, directed by Enrico Guazzoni (1915)
755:, directed by Enrico Guazzoni (1915)
743:, directed by Enrico Guazzoni (1915)
737:, directed by Enrico Guazzoni (1915)
731:, directed by Enrico Guazzoni (1914)
723:, directed by Guglielmo Zorzi (1914)
683:, directed by Enrico Guazzoni (1914)
659:, directed by Enrico Guazzoni (1913)
929:, directed by Amleto Palermi (1923)
917:, directed by Amleto Palermi (1923)
909:, directed by Amleto Palermi (1923)
897:, directed by Amleto Palermi (1922)
889:, directed by Amleto Palermi (1921)
883:, directed by Eugenio Perego (1921)
859:, directed by Eugenio Perego (1920)
853:, directed by Eugenio Perego (1920)
839:, directed by Eugenio Perego (1919)
831:, directed by Eugenio Perego (1918)
797:, directed by Alfredo Robert (1916)
717:, directed by Augusto Genina (1914)
711:, directed by Augusto Genina (1914)
699:, directed by Augusto Genina (1914)
665:, directed by Nino Martoglio (1913)
647:, directed by Enrique Santos (1913)
13:
14:
1956:
1879:
1870:Usai, Paolo Cherchi, ed. (1986).
1770:. Florence: Bemporad & Figli.
1768:Le noste attrici cinematografiche
1766:Alacci (Alacevich), Tito (1919).
1547:"the 38th new york film festival"
815:, directed by Gero Zambuto (1918)
809:, directed by Gero Zambuto (1918)
803:, directed by Gero Zambuto (1916)
791:, directed by Gero Zambuto (1916)
616:called Cesarina, who was born in
1854:Cinema Muto Italiano (1896-1930)
1759:Cento anni di cinema in Piemonte
1711:
761:, directed by Nino Oxilia (1915)
749:, directed by Nino Oxilia (1915)
715:I misteri del castello di Monroe
705:, regia di Augusto Genina (1914)
677:, directed by Nino Oxilia (1914)
1837:. Vicenza: Neri Pozza Editore.
1790:Storia Del Cinema Muto Italiano
1702:
1680:"Film: Storia di una donna, la"
1672:
1646:
1608:
1565:
1539:
541:In 1920, Menichelli starred in
446:of Italian silent cinema. Both
431:was a huge commercial success.
154:
130:
1935:20th-century Italian actresses
1817:Emilio Ghione, l'ultimo apache
995:Italian National Cinema Museum
961:Pordenone Silent Film Festival
637:
1:
1915:Italian silent film actresses
1824:Martinelli, Vittorio (2002).
1788:Brunetta, Gian Piero (2008).
1025:
971:Una tragedia al cinematografo
864:The Story of a Poor Young Man
598:
375:motifs; the link between the
207:
35:
1861:Usai, Paolo Cherchi (1986).
1553:. the new york film festival
611:During a theatrical tour of
202:
7:
1806:Jandelli, Cristina (2007).
1799:Lessico universale italiano
1777:Encyclopaedia of Early Film
1654:"Il padrone delle ferriere"
979:(1913) is preserved at the
278:In the Napoleonic war epic
176:Giuseppa Iolanda Menichelli
50:Giuseppa Iolanda Menichelli
10:
1961:
186:gave her the lead role in
1761:. Turin: Abacus Edizioni.
1684:Bibliomedioteca catalogue
1013:Il padrone delle ferriere
518:Move to Rinascimento Film
512:Il padrone delle ferriere
479:Only a brief fragment of
282:(1914), Menichelli had a
165:
109:
101:
93:
74:
45:
27:
20:
1454:, pp. 33 & 129.
607:Personal life and family
553:in a similar way to the
265:Il siero del dottor Kean
1905:Italian stage actresses
1852:Redi, Riccardo (1999).
1835:Vecchio Cinema Italiano
1439:, pp. 32 & 21.
1222:Abrate & Longo 1997
914:La dama de Chez Maxim's
857:La disfatta dell’Erinni
697:Il grido dell’innocenza
1910:Italian film actresses
1874:. Turin: Strenna UTET.
1019:La storia di una donna
957:New York Film Festival
543:La Storia di Una Donna
538:
391:
338:
310:(1915). Commenting on
1945:Actresses from Sicily
1815:Lotti, Denis (2008).
1686:. Cineteca of Bologna
1658:Restored silent films
1620:Restored silent films
1372:Usai & 1986 (ed.)
943:Surviving film copies
829:Il giardino incantato
789:La trilogia di Dorina
573:La Dama di chez Maxim
555:German Expressionists
533:
475:Career at Itala Films
385:
367:Gabriele d'Annunzio's
332:
318:Screen breakthrough:
1920:Actresses from Milan
1726:for the books listed
901:L'ospite sconosciuta
813:La moglie di Claudio
747:Il sottomarino n. 27
687:La parola che uccide
547:The Story of a Woman
496:La moglie di Claudio
333:Original poster for
239:Start of film career
1810:. Venice: Marsilio.
1605:, pp. 224–228.
1398:, pp. 175–183.
1359:, pp. 107–109.
1207:, pp. 239–240.
1007:Gemma di Sant'Eremo
934:Take Care of Amelia
795:Gemma di Sant'Eremo
703:Giovinezza trionfa!
577:Occupati D'Aemilia.
536:Storia di una donna
481:Gemma di Sant'Eremo
273:Cajus Julius Caesar
143:Baron Carlo D'Amato
981:Cineteca Nazionale
921:Una pagina d’amore
765:La casa di nessuno
539:
392:
339:
312:La casa di nessuno
290:, the director of
1863:Giovanni Pastrone
1844:978-88-7305-458-0
1797:Bosco, U (1968).
1753:
1752:
1473:, pp. 20–23.
1332:, pp. 102–3.
1315:, pp. 98–99.
1153:, pp. 81–83.
1088:, pp. 67–75.
907:La donna e l'uomo
836:The Railway Owner
777:Giovanni Pastrone
735:La morta del lago
581:Louis Feuillade's
566:La Seconda Moglie
524:Giovanni Pastrone
465:Francesca Bertini
421:Segundo de Chomon
359:Francesca Bertini
343:Giovanni Pastrone
304:Francesca Bertini
288:Giovanni Pastrone
184:Giovanni Pastrone
173:
172:
102:Years active
34:Pina Menichelli,
1952:
1875:
1866:
1857:
1848:
1829:
1828:. Rome: Bulzoni.
1820:
1811:
1802:
1793:
1792:. Bari: Laterza.
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1100:, p. 70–71.
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881:Le tre illusioni
657:Il lettino vuoto
551:low-key lighting
504:censorship board
398:was cemented by
269:La barca nuziale
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68:Kingdom of Italy
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1960:
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1886:Pina Menichelli
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1534:Martinelli 2002
1532:
1525:
1521:, Introduction.
1519:Martinelli 2002
1517:
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1507:Martinelli 2002
1505:
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1471:Martinelli 2002
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1437:Martinelli 2002
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1384:Martinelli 2002
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1357:Martinelli 2002
1355:
1348:
1344:, pp. 101.
1342:Martinelli 2002
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1330:Martinelli 2002
1328:
1319:
1313:Martinelli 2002
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1186:Martinelli 2002
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1151:Martinelli 2002
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1134:Martinelli 2002
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1122:Martinelli 2002
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1110:Martinelli 2002
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1098:Martinelli 2002
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1074:Martinelli 2002
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1050:Martinelli 2002
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1033:
1028:
997:, Turin, Italy.
945:
940:
894:The Second Wife
850:A Woman's Story
801:Una sventatella
675:Retaggio d’odio
669:La porta chiusa
640:
609:
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1734:or run the
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927:La biondina
825:in Britain.
819:L'olocausto
783:Tigre reale
741:Alla deriva
721:Ninna nanna
638:Filmography
589:(1915) and
489:L'Olocausto
485:L'Olocausto
452:Tigre Reale
440:Tigre Reale
429:Tigre Reale
404:Royal Tiger
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388:Tigre Reale
324:Tigre Reale
308:Alla Deriva
267:(1913) and
214:Castroreale
120:Libero Pica
64:Castroreale
1899:Categories
1779:. London:
1744:April 2011
1616:"Il Fuoco"
1495:Lotti 2008
1062:Bosco 1968
1026:References
947:Like many
753:Alma mater
663:Il romanzo
599:Retirement
357:, such as
208:Early life
94:Occupation
56:1890-01-10
1781:Routledge
1641:Redi 1999
1603:Redi 1999
1396:Redi 1999
1298:Redi 1999
1252:Usai 1986
1237:Usai 1986
1174:Blom 2005
620:in 1912.
613:Argentina
494:In 1918,
412:flashback
341:In 1915,
233:Argentina
203:Biography
105:1912–1924
991:Il fuoco
987:The fire
959:and the
772:The Fire
456:tailcoat
448:Il Fuoco
436:Il Fuoco
372:Il Fuoco
351:The Fire
347:Il Fuoco
335:Il Fuoco
320:Il Fuoco
263:(1913),
226:comedian
189:The Fire
166:Children
1690:4 April
1664:4 April
1626:4 April
425:montage
417:Siberia
390:(1916).
337:(1916).
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218:Messina
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97:Actress
88:, Italy
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693:(1914)
222:Sicily
1724:ISBNs
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618:Milan
592:Judex
355:divas
296:Turin
284:cameo
153:(
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86:Milan
1890:IMDb
1839:ISBN
1692:2011
1666:2011
1628:2011
1585:2011
1577:News
1559:2011
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759:Papà
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575:and
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461:diva
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361:and
322:and
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255:and
253:Zuma
245:Rome
194:diva
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46:Born
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434:In
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