Os Últimos Dias de Pompeia

This amazing Italian silent epic, featuring a cast of millions, will blow your mind as thoroughly as Mt. Vesuvius blew up Pompeii. Breathtaking special effects, an excitingly melodramatic plot, stunning settings, and gorgeous cinematography combine to make this one of the first great feature films.

The cinematography is very different to what we are used to today - the camera does not move at all - but the shots are so well lit that it hardly seems to matter. And the genuine beauty of the final shot makes the scene very moving indeed.

This is an unmissable masterpiece of cinema.

The eruption of Vesuvius plays only a minor part in this lurid tale of murder, blackmail, insanity, witches, unrequited love, gladiators, imprisonment and blindness. However, as this was made in 1913, it's all done in the best possible taste, and The Last Days of Pompeii is one of the figureheads of early Italian cinema as it's an epic feature-length movie from a time when other countries were still making small-scale 20-minute shorts. Hugely influential, then - Griffith, whose own feature-length epic was still two years off was a fan - but kind of camp.

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.

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.

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.