Lucio D'Ambra

Джузеппе Верди, мечтательный и нонконформистский юноша, решает покинуть свой родной город, чтобы заниматься музыкой в Милане. Столкнувшись с первоначальным отказом от избранного круга итальянской оперы, Верди терпит неудачу, пока не встретит популярное сопрано Джузеппину Стреппони, с которой он поженится, и, таким образом, начнёт интенсивную карьеру, полную успехов и неудач.

Directed by Lucio D'Ambra.

In the kingdom of Culrandia (a country that must border Ruritania) King Ottocar must give his daughter’s hand in marriage to the prince of another country. Bebè, tired of waiting for her fiancé, tracks him down in Paris and brings him back to Culrandia where they are eventually married.

In the kingdom of Culrandia (a country that must border Ruritania) King Ottocar must give his daughter’s hand in marriage to the prince of another country. Bebè, tired of waiting for her fiancé, tracks him down in Paris and brings him back to Culrandia where they are eventually married.

The film tells in a humorous way of the artistic aspirations of a young and bourgeoisie fraulein who wants to become a famous actress, the most important diva of all times, although her family , especially her father, are unhappy with her artistic dreams. But thanks to her tenacity, as well as the collaboration of some servants and members of her family (they help her rehearse her roles which are taken from Roman Empire times), the young fraulein finally gets to star in a film. But the premiere will be a disaster because due to the inexperience of the projectionist, the actors in the picture are all rapidly moving backwards, causing general laughter in the audience and spelling the end of the glorious but brief cinematic career of our heroine.

The film tells in a humorous way of the artistic aspirations of a young and bourgeoisie fraulein who wants to become a famous actress, the most important diva of all times, although her family , especially her father, are unhappy with her artistic dreams. But thanks to her tenacity, as well as the collaboration of some servants and members of her family (they help her rehearse her roles which are taken from Roman Empire times), the young fraulein finally gets to star in a film. But the premiere will be a disaster because due to the inexperience of the projectionist, the actors in the picture are all rapidly moving backwards, causing general laughter in the audience and spelling the end of the glorious but brief cinematic career of our heroine.

The film tells in a humorous way of the artistic aspirations of a young and bourgeoisie fraulein who wants to become a famous actress, the most important diva of all times, although her family , especially her father, are unhappy with her artistic dreams. But thanks to her tenacity, as well as the collaboration of some servants and members of her family (they help her rehearse her roles which are taken from Roman Empire times), the young fraulein finally gets to star in a film. But the premiere will be a disaster because due to the inexperience of the projectionist, the actors in the picture are all rapidly moving backwards, causing general laughter in the audience and spelling the end of the glorious but brief cinematic career of our heroine.

Carnevalesca with the beautiful Lydia Borelli is divided in to 4 parts, the white carnival, the innocent and pure childhood, the blue carnival love & youth, the red carnival the violent and destructive passion, the black carnival, death and madness.

La storia dei tredici is an Italian silent film starring Lyda Borelli.

Le mogli e le arance is characterized by a wonderful sereneness. It is the kind of quietude which many of us connect immediately with the south. Everything seems to be in its perfect place, and time is just passing. In the setting of a sanatorium a nobleman is practicing idleness and slow-motion mind games. Does it sound boring? Yes, it does. But it is not, the uneventfulness is definitively enthralling. The film director tries to narrate time, time itself, as such, for its own sake: a rare experiment.

Le mogli e le arance is characterized by a wonderful sereneness. It is the kind of quietude which many of us connect immediately with the south. Everything seems to be in its perfect place, and time is just passing. In the setting of a sanatorium a nobleman is practicing idleness and slow-motion mind games. Does it sound boring? Yes, it does. But it is not, the uneventfulness is definitively enthralling. The film director tries to narrate time, time itself, as such, for its own sake: a rare experiment.