Romola

Period piece based on the novel by George Eliot. And what a period piece it is! MGM must have spent a ton of money recreating the costumes, atmosphere and architecture of 15th century Florence. The detail is meticulous and lends the feeling of a modern production taking place 6 centuries ago.

I have not read the book but I wonder if it reads better than it translates to the big screen. The film is long - longer than most films of the silent era, and at times tends toward tedium. In fact, it is downright dull in spots, and those spots overtake those of interest. Makes you think it could have a used a little heavier hand in the cutting room. The cast is excellent, and once again William Powell plays the villain of the piece and steals the show. The Gish sisters never looked more attractive, especially Dorothy. Ronald Colman was stalwart but overshadowed by Powell. On whole, it is entertaining and sumptuously mounted but be aware of above-mentioned lapses in the narrative. Shown at Capitolfest, Rome NY 8/18.

7/10 - The website no longer prints my star rating.

During the early silent cinema history, historic or costume films were in fashion among audiences around the world; people liked very much to watch all those dressed up characters playing epic adventures and recreating historical events through times in old Europe.

Herr Henry King directed "Romola" in the silent year of 1924 just after the excellent "The White Sister" which was filmed entirely in Italy as was "Romola", so the Amerikan director thought that for the cost of one film, why not to have two?... And of course staying in Italy provided more time for producers and cast to be tourists through the beautiful capital city of the region of Tuscany, Florence and surroundings.

The story is set in Florence when the splendorous Italian city was ruled by the Medici, that is to say, it's a tale of ambition, political intrigues along with a love story and images of the beautiful city. Unfortunately, "Romola" is not a very inspired work; a very strange case this because with such elements and the Medici's spirit around, Herr King should have made a more interesting oeuvre. On the contrary, "Romola" is a wizened film, older in style than the Medicis themselves.

The most interesting aspect of the film are the actresses and actors. The Gish sisters have the leads and, while they are not at their best certainly, it is always a pleasure to watch Dame Lillian and Dorothy playing their conventional heroines so common in these historical productions. As for the actors, well, to watch Herr William Powell and Herr Ronald Colman wearing those unbecoming hairdos together with stretched tights without losing their dignity is a very remarkable and important event in itself, ja wohl…

And now, if you'll allow me, I must temporarily take my leave because this German Count must try to cram his plump Teutonic body into one of those fashionable tights.

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

In Florence, Italy, during the Renaissance, Lillian Gish (as Romola) lives with her blind father Bonaventura Ibáñez (as Bardo Bardi), who is a friend of Savonarola, Michelangelo, and Leonardo da Vinci. Although they are not too wealthy, the Bardis have one of the world's best libraries. Young sculptor Ronald Colman (as Carlo Bucellini) is interested in the lovely Lillian, but she is interested in more scholarly pursuits; this makes her an easy mark for shipwrecked sham scholar William Powell (as Tito Melema). Before Mr. Powell cleans up for his meeting with Lillian, he meets simple street maid Dorothy Gish (as Tessa). Dorothy is quite taken with the dashing Powell; then, so is Lillian. Can he marry them both?

Henry King's "Romola" makes a fine silent film, thanks to lavish location production values, and a winning cast. The title notwithstanding, the film focuses on the intermarrying three characters played by Lillian Gish, William Powell, and Dorothy Gish. Close to the film's end, the three have some great on screen conflict time together; and, Lillian performs a cathartic moment exceptionally well. An exciting ending follows. Curiously, Powell's "Tito" character seems to be the story's main protagonist, arguably, until the end; surely, the original George Eliot novel was more focused on "Romola".

I guess this isn't an awful film, but after recently viewing it, I was struck by how it really needed that Griffith touch. Especially since the script was something Griffith would have done. But they missed out on any chance for true suspense by neglecting everything they should have learned from Griffith about climactic cross-cutting.

Wow...I feel like I'm turning into a film geek or something. (I guess I like Griffith more than I thought...or I've just seen too many of his films.)

Anyway, if you want to see a movie worth watching with the Sisters Gish (and who doesn't??), watch (or re-watch) Orphans of the Storm. View this only as a comparison as to why Griffith was truly a master.

Given the mature talent of Henry King and the Gish sisters, this is a slow, dreary misfire. The plot proceeds at a deadeningly slow rate -- King liked to take his time, but this is ridiculous. For completists of the Gishes, King or William Powell