Marizza, detta la signora dei contrabbandieri

...But there is a 13 min. long fragment with Italien intertitles. It's only a very slight relief but at least we can get a glimpse of the movie and it looks very promising. Despite the fact that you can't really connect with all of the story (since it's only a fragment - and I'm not even sure if all the scenes were originally in that order of if some scenes in-between are missing) this movie shows us a lot of what makes Murnau so great. Most of the scenes weren't extremely special. But some stand out quite much; In particular those with Marizza on screen. These scenes are really well done by the actress and by Murnau who set them up very well. Some of them even have a genuinely good composition.

I watched the fragment with the glorious New world Symphonie which I'd recommend if you want music to accompany it.

I'd be extremely satisfied if they find some more of the movie. It would even do if they find a major part of it. Some of it can be replaced with intertitles if necessary.

I'd recommend to watch the fragment for the great scenes to any Murnau fan.

At the last Pordenone Silent Film Festival (2010), the first reel of "Maritza", the Italian title for "Marizza, genannt die Schmuggler- Madonna" has been shown.

In this first act (275,8 m. long - about 13 min at 18fps), Murnau portrays characters whose original ethnic richness recalls the border zone where the story is set. He registers their behavior, echoing their nature in their animals, relating them (or putting them against each other) in the compositions or via editing effects that make the story progress very swiftly. Cinematography is by great Karl Freund, rich in chiaroscuro and depth of focus composition. So, we learn about the wild nature of Marizza, who stands in sharp contrast with the local families, entangled by relationships of money and power. As in "Der Gang in die Nacht" or "Phantom", the grotesque is highlighted, while restrained by the excessive formality of the upper classes. But some unexpected attitudes in these moments reveal major conflicts in history.

Other elements remind us especially of "Nosferatu": the expressive use of landscape, the mysterious connections created by editing, the importance of money as the basic motivation of men, and a somewhat vampiric predisposition in nature, embodied here by Marizza. The film's warm palette echoes the will for nature and spring desire. And maybe because of the loss of the other reels, we feel it creates an "edge of the world" Utopian quality.