Rhapsodie des Satans

The ageing Italian aristocrat, Dame Alba d' Oltrevita ( Dame Lyda Borelli ) would like to find a second youth. Remember in those early days no one had any beauty secrets ( with the exception of Snow White's stepmother… ). Dame Alba discovers a particular and special solution for her beauty problems: a pact with the devil.

Herr Mephisto ( Herr Ugo Bazzini ) accepts but in exchange forbids her to fall in love ever, but this it seems doesn't matter to our Italian aristocrat because she is again young and beautiful. She is courted by two brothers, Tristano ( Herr Andrea Habay ) and Sergio ( Giovanni Cinni ).The last one threatens to kill himself if Dame Alba does not grant him her love but Dame Alba doesn't pay attention to him and chooses his brother, provoking Sergio's death.; She prepares to marry Tristano but the devil must have his due and Mephisto turns her into an old woman again.

"Rapsodia Satánica" is a beautiful film directed by Herr Nino Oxilia, who died before his time during the World War I; this is his most successful oeuvre, a film that belongs to those stylish melodramas made in Italy in the early silent days that gave prestige to the unique style of the film productions of that European country.

The film has a romantic atmosphere that fascinates immediately; delicate scenery and careful indoor settings as well as superb cinematography by Herr Giorgio Ricci. Let us not forget that part of the oeuvre was hand-coloured and that fact gives to the film a special sense of decadent and unreal feeling that fits perfectly with the story.

"Rapsodia Satánica", besides its classical invocations of the myth of eternal youth ( this ageing and wrinkled German aristocrat can't understand such nonsense… ) has an idealistic but melancholy view of youth as little more than the most fleeting of situations, a passing hallucination. Adding to the film's power is the presence of one of the most important Italian divas of the early silent days, Dame Lyda Borelli in one of her first leading roles. In spite of her teeth showing, Dame Borelli's performance is outstanding for the delicacy and charm she brings to her character.

And now, if you'll allow me, I must temporarily take my leave because this German Count has an appointment with Herr Methuselah.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

This is an extraordinary variation of the Faust myth, with great lighting and beautiful compositions by cinematographer Giorgi Ricci, in which the influences of Italian aestheticism and German expressionism are harmoniously integrated, to offer a lavish melodrama, a beautiful example of the Italian cinema of great divas.

«Rapsodia satanica» is a hand-painted, tinted black and white silent film, restored in 2007 and performed by diva Lyda Borelli, known as "La divina Borelli." It tells the story of an old countess who makes a pact with Mephistopheles, recovers her youth, and mocks the love of two brothers who court her.

The story receives a fantasy approach and is kept under control by director Nino Oxilia, who finished the film, went to fight in World War I and died on the battlefield. It was also the only film for which maestro Pietro Mascagni composed an excellent musical score.

Of its 55 minutes only 45 have remained, but the film has coherence and is a fascinating opportunity to see the greatest of Italian divas in the leading role, who became a real contessa in 1918, when she retired to marry a member of Italian royalty and ended her film career. Highly recommended.

Old lady Lyda Borelli strikes a deal with Mephistopheles -- played by Ugo Bazzini -- to restore her youth. She's supposed to destroy a symbol of love, but cheats him. Now young and lovely, she fascinates brothers Andrea Habay and Giovanni Cini. One kills himself over his unrequited passion, while the other seeks solitude riding his horse in the mountains. But Signorina Borelli comes o realize that she may have made a mistake in not forsaking love.

It's a variation on Faust from the woman's angle, with Signorina Borelli acting up a storm in the broad manner than Italian audiences still adored in their movie divas. I find it a bit too broad.

The print I looked at had been restored with many of the original tints left intact. They're quite lovely, except for a bit in which the image has been almost fully destroyed. The score which composer Pietro Mascagni wrote for the premiere -- and took a couple of years to write, causing the movie's release to be delayed two years -- is quite grand, recalling to me in part Richard Rodger's score for Carousel, while in other places it suggests Sir Arthur Sullivan's serious music.

A film that, let's just say it, has not aged well. The plot, however faustian it may be, barely deserves to be called a plot. And you can hardly understand it, were it not for some title cards: I mean, there is no visual efficacity whatsoever. Some title-cards only, just a few ones: the others are quite impressionistic evocations of vague states of mind, sometimes merely a series of sigle words separated by full stops, and expressed in a sort of antiquated Italian language that not only nobody speaks today (believe me, I happen to be Italian), but into which not even the best literates of 1917 would have dared to write. (Of course nobody expects the best literates to have partecipated in the movie).

The worst weakness of the film, however, is the acting. In you are interested in the topic, by the by, I recommend you watch the movie until the end, if you can stand its about 45 minutes of growing bore. Well: never, not in a single moment we can find a "natural" body expression or gesture. (Though I'm pretty sure the filmmakers expressily didn't want to have any; I think that was a facet in the time's esthetics). But, for today's audiences, it's really hard to follow and appreciate a never-ending plethora of sterotyped gestures, with the protagonist Lyda Borelli flinging hes arms around like crazy from beginning to end, whether she is happy or sad, or Mephisto lurking from the bottom of the shot, in his heavy clownish make-up, to insinuate deadly temptation.

There are two things you can say in favor of this film: It has a cool title - and it is mercifully short. The story is as trite as can be. Prologue: Some old countess makes a deal with the devil: She receives everlasting youth if she abjures love. Part one: Endless boring "parties" - interminably we have to watch dancing and flower throwing youths. Single small bit of plot: One of a pair of brothers falls in love with her and shoots himself. Part two: Now we have to endure her remorse in close ups and mid shots and in this gown and in that gown and some more senseless flower throwing until the predictable end releases us from this boredom.

The only somewhat interesting thing is the use of various coloring techniques: You get some green dresses, yellow butterflies in close-up and a red colored Mephisto. But the acting is mediocre and the direction is terrible: There is some unintended comedy now and then when Mephisto pops up like in a Punch and Judy show. But it's not hilariously bad enough to justify the waste of 45 minutes by watching this film.