Gli ultimi giorni di Pompei

This silent Italian melodrama may be a challenge for modern viewers, but it's a "must" for real fans of the silent era. Along with other early Italian epics now available in great DVD editions, such as "Cabiria" from 1914, these movies remind Americans that before World War I, European filmmakers were creative pioneers who stretched the medium and the imaginations of American directors. This film version of the "Pompeii" story was shot with static cameras and looks a bit like a broadly acted stage production transfered to film. But the production is elaborate, featuring stage sets as well as some location shooting. Just watching the images unfold in this twisted tale of love and jealousy on the eve of the disastrous eruption of Mt. Vesuvius can be fascinating as we peer back across the century at this 1913 release. To current sensibilities, the film does reflect some prejudices of its era, including the casting of an Egyptian priest as the mysterious, evil force in Pompeii -- an early example of a century-long demonization of Arab figures in movies. However, for viewers exploring early cinema, who are familiar mainly with slapstick comedies and D.W. Griffith, watching a pre-WWI Italian epic like this can be a fascinating experience.

I am so sorry to say, even though this film adaption of "Last Days of Pompeii" (Gli Ultimi Giorni di Pompeii) is suppose to be very serious, but as I watched it back in my old High School history class, I just could not help but break out into fits of laughter.

Is it me, or does most of the people who acted in this film look like they had their overdosage of sugar and caffeine? Yeah, I wonder that too, because everyone, and I mean EVERYONE in this film looks like they are way too hyperactive to be in this film. But hey, at least it was a SILENT film, right folk? Right. There is even a few scenes in the film where the actress who played Nydia was trying to hold back her laughter.

If you see this film in a history class, or if you plan to rent the film, be prepaired to hold back laughing at something that is suppose to be serious.

WARNING: Do not watch this film after having intense facial surgery or an operation on your body.

The romance of Glaucus and Ione (called Jone here) plus the hopeless love of blind Nidia, intertwine with the nefarious machinations of an Egyptian priest, to make up most of the story. For its time, this was a new departure in cinema, but today it will strike most viewers as too tame. There is no camera movement. Title cards carry little or no dialog. And most evidently the cast was not chosen for physical attractiveness, men or women. Still the story gets told, and rather catches one up, especially the portion of the plot involving blind Nidia. The special effects depicting the eruption of Vesuvius are not bad for 1913, but don't expect anything like the documentaries of the eruption of Hawaiian volcanoes!

Despite its old-fashioned format and performances, this early full-length feature is still of some interest, at least historically, and it is probably a little better as a movie than many give it credit for. It was quite an ambitious attempt to tell a relatively involved story with some large-scale settings and a few special visual effects.

It follows a formula that may be even more popular now than it was in the 1910's: take a tumultuous historical event, introduce a set of fictional characters, and show what was going on in their lives when the event took place. In this respect, "The Last Days of Pompeii" may to some degree have established the formula that is still being used for films such as "Titanic", "Pearl Harbor" and many others. If you adjust for the limitations of its era, "The Last Days of Pompeii" is at least as good as those films, as well as many others of the genre.

The story, though sometimes too melodramatic and implausible, is interesting enough most of the time, and while the settings aren't going to impress anyone now, they do display a fair amount of creative effort. None of the cast give particularly strong performances, but their acting styles are not inherently any worse than the acting styles of the present. Some of the present day's most popular performers use affected, artificial styles that are trendy now, but that won't look any better in 90 years than the histrionics of this Italian cast look today.

There's no denying the weaknesses, many of which come from the tableau format and/or from inexperience with telling a full-length story on the silent screen. There are some stretches, especially in the first half, which move very slowly. Some of the characters, especially Nidia, could have been much more compelling with more creative filming and acting.

Within just a few years, the stereotyped tableau format would be largely abandoned, better ways of telling a story would be developed, and better ways of integrating the camera and the performers would be devised. While that might not make this film any better in itself, it was the first few ambitious attempts like "The Last Days of Pompeii" that helped lead to such improvements. While it's only an average film in itself, it deserves also to be remembered as a pioneering effort.

Lots of Foolish People Review Movies...

I hope I don't number among them or any of those who reviewed this film and only saw it through their perverted, spoiled, vapid and jaded eyes and minds.

This is an important film. It happens to be one of the very first epics ever filmed. And of the very first movies to have used special effects of this magnitude.

In fact, this movie pre-dates BIRTH OF A NATION by two years. Before POMPEII and CABIRIA, movies were much shorter in length. The fact that this movie became wildly popular even though it was the unheard length of over 90 minutes is a testament to its power then and now.

It is pathetic to read reviews where people admit to laughing at this movie. It can only come from the uninformed and unsophisticated.

Complaints that the movie is static, stagy and "uncinematic" do not take into consideration that this was the way movies were made. The medium was brand new. The tradition of dramatic arts had no other precedence than the stage and the picture frame of the plastic arts as they had been until then. It was only until BIRTH OF THE NATION that the camerawork began to become interesting and creative. Trial and error sparked these marvelous innovations which made BIRTH OF THE NATION the more famous landmark film.

But back to POMPEII...I must admit that development of the story appeared to move at a stately pace and that the "real action" didn't begin to unfold until the final 20 minutes of the film.

Yet, I believe that this was done for several reasons. The act of bringing us INTO the heart of one slave woman was motivated NOT just to fill in the screen time. It was done so that we would care about her and those around her. What worth is there in seeing a disaster for the disaster's sake -- if we do not care about the lives of those involved in the tragedy?

The other reason that it unfolded slowly at the beginning to create a contrast to the escalation that occurred at the end -- which began within the germ of the slave girl's plight and literally exploded when Mt. Vesuvius blew up.

The use of the red filter was a stroke of genius that truly emphasized the calamity which the damned residents of Pompeii suffered. What is truly odd and I thought was a well-timed coincidence was the immediate and marked destruction of the film quality at the start of the devastation scene. Had it been planned that way, it would not have gone so well. It was jarring and painful to watch.

When the film's quality improved, we were offered a long series of different shots of the populace running in every direction and in an uncontrollable panic. Having been at the top of a local government building at the moment of the 9/11 tragedies, I can well attest to the panic that can ensue when a great number of people feel their lives are being threatened at once. Hundreds of us ran down a dozen or so flights of stairs without even thinking, our legs very nervously shaking, our minds reeling with a panic unimaginable.

I have visited Pompeii, the remains of which demonstrates quite narrow streets that conclude at various piazzas. To have been there and witnessed the scores of people attempting to escape the devastation with their lives, must have been a most horrific and mind-jarring experience. I am sure many were trampled and many unintended mishaps occurred along the way. To laugh at this depiction in this movie reflects a mindset which cannot conceive of the gravity of this situation.

For me it was riveting to witness this spectacle. It's obvious that I admire this film for its many virtues. I will close with only one whimsical observation. I was taken by the remarkable resemblance, at least with what camera distance we were afforded, of the slave girl to Miss Lillian Gish and her legendary waif-like countenance. It added a bit of relish to the whole -- even though I am sure that this sort of look and demeanor was quite the rage back then. It turned my head in admiration and wonderment.

The vast...and I mean vast, crowds at the arena scene were breathtaking in scope though the limits of the artistic palette back then does not afford us the optimal view.

I recommend this movie to the thoughtful film lover who will not protest to the idiosyncratic shortcomings that were so prevalent during the dawn of films and can be magnanimously forgiving for these minor peccadillos.